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The Purge and the Codification of Memory in French Literature and Film.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Purge and the Codification of Memory in French Literature and Film./
Author:	Segura, Louis Alexander.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	196 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-12, Section: A.
Contained By:	Dissertations Abstracts International80-12A.
Subject:	French literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13426638
ISBN:	9781392222294

The Purge and the Codification of Memory in French Literature and Film.
Segura, Louis Alexander.

The Purge and the Codification of Memory in French Literature and Film. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 196 p.

Source: Dissertations Abstracts International, Volume: 80-12, Section: A.

Thesis (Ph.D.)--Rutgers The State University of New Jersey, School of Graduate Studies, 2019.

This item must not be sold to any third party vendors.

This dissertation is about the influence of the postwar Purge on francite, or French national identity and cultural memory, as expressed in cinematic and literary representations of the Occupation and the Resistance. My dissertation begins in 1944 with the Liberation of Paris when Paris was plunged into a war with itself in what is known as l'epuration. The Purge as it is commonly known in English was a series of expedited trials beginning before the liberation which were meant to punish French citizens known or suspected to have collaborated with the Germans during the Occupation. I show that the Purge created an aesthetic and political shift in postwar French literature and film by constituting new metaphors to articulate francite which continues to permeate contemporary representations of the Occupation and the Resistance. I argue that the Purge casts a shadow over postwar France and its on-going effort to navigate the codes of national identity, cultural memory, and by extension, francite to show how the Purge and representations of the Occupation and the Resistance are not just historical events but part of a living experience that continue to shape and be shaped by French cultural memory. I conclude that since 1944 there has been an interplay between the political and the popular that manifests in the representations of the Occupation and the Resistance which I demonstrate by drawing attention to shifting signifieds like patriotism and nationalism which form the contours of a more diverse and heterogeneous francite. My dissertation considers films with literature on an equal basis and contributes an analysis of French films of the period which have not received the same critical attention as literature.My dissertation is in two two-part chapters in which I contextualize popular cinematic and literary representations of the Occupation and the Resistance throughout the Purge and thereafter to highlight a development of a discourse of francite. Part I, "The Purge: The Resistance and Its Referents" focuses on the immediate postwar period (1944 to 1946) as represented in film and demonstrates the importance of cinema during the Purge as France begins to try to come to terms with what has come to be known as les annees noires, or the "Dark Years," of the Occupation. In first chapter "La Liberation de Paris and the Liberation of French Cinema" I discuss the short documentary film La Liberation de Paris while exploring the cultural and historical demands on the postwar film industry as constituted by the Purge. I argue that the Purge rearticulated French identity in liberated Paris, shaping French cultural memory via the documentary film La Liberation de Paris. In chapter two "Purpose, Intention, and The Purge in La Bataille du rail and Jericho" I develop this argument by analyzing two fictional films, both made in 1946, that portray the Occupation and the Resistance using documentary footage: La Bataille du rail (dir. Rene Clement) and Jericho (dir. Henri Calef). In this chapter I argue that French cinema responded directly to the Purge which then went on to impact French postwar cultural memory and subsequent representations of the Occupation and the Resistance.In Part II, "Tracing the Purge" I focus on writing and authorial intention and how the Purge and its legacy continues to inform French politics and identity. I begin with a chapter on Albert Camus' La Peste (1947) titled "La Peste: An Allegory of the Purge." This chapter serves as a literary analogue to the exploration of film from Part I and engages directly with the ethics of representation, especially allegory. In the chapter I argue that La Peste is a critique of the Purge in that Camus draws attention to social and political conflicts of postwar France to construct a narrative of fragmented francite. In the final chapter, "Guy Moquet and the Memory Laws: Tracing the Purge in the 21st century" I contextualize the contemporary and recurring discussion of the Second World War in France in order to explore the legacy of the Purge and to consider how these representations shift into the twenty-first century. I argue that the Memory Laws are an extension of the Purge in that they re-frame current representations of the Occupation and the Resistance and the cultural memory of the war into a more diverse and heterogeneous francite for the 21st century.

ISBN: 9781392222294Subjects--Topical Terms:

644020
French literature.
Subjects--Index Terms:

Epuration

The Purge and the Codification of Memory in French Literature and Film.
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245 1 4 $a The Purge and the Codification of Memory in French Literature and Film.
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500 $a Source: Dissertations Abstracts International, Volume: 80-12, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Parker, Andrew C.
502 $a Thesis (Ph.D.)--Rutgers The State University of New Jersey, School of Graduate Studies, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation is about the influence of the postwar Purge on francite, or French national identity and cultural memory, as expressed in cinematic and literary representations of the Occupation and the Resistance. My dissertation begins in 1944 with the Liberation of Paris when Paris was plunged into a war with itself in what is known as l'epuration. The Purge as it is commonly known in English was a series of expedited trials beginning before the liberation which were meant to punish French citizens known or suspected to have collaborated with the Germans during the Occupation. I show that the Purge created an aesthetic and political shift in postwar French literature and film by constituting new metaphors to articulate francite which continues to permeate contemporary representations of the Occupation and the Resistance. I argue that the Purge casts a shadow over postwar France and its on-going effort to navigate the codes of national identity, cultural memory, and by extension, francite to show how the Purge and representations of the Occupation and the Resistance are not just historical events but part of a living experience that continue to shape and be shaped by French cultural memory. I conclude that since 1944 there has been an interplay between the political and the popular that manifests in the representations of the Occupation and the Resistance which I demonstrate by drawing attention to shifting signifieds like patriotism and nationalism which form the contours of a more diverse and heterogeneous francite. My dissertation considers films with literature on an equal basis and contributes an analysis of French films of the period which have not received the same critical attention as literature.My dissertation is in two two-part chapters in which I contextualize popular cinematic and literary representations of the Occupation and the Resistance throughout the Purge and thereafter to highlight a development of a discourse of francite. Part I, "The Purge: The Resistance and Its Referents" focuses on the immediate postwar period (1944 to 1946) as represented in film and demonstrates the importance of cinema during the Purge as France begins to try to come to terms with what has come to be known as les annees noires, or the "Dark Years," of the Occupation. In first chapter "La Liberation de Paris and the Liberation of French Cinema" I discuss the short documentary film La Liberation de Paris while exploring the cultural and historical demands on the postwar film industry as constituted by the Purge. I argue that the Purge rearticulated French identity in liberated Paris, shaping French cultural memory via the documentary film La Liberation de Paris. In chapter two "Purpose, Intention, and The Purge in La Bataille du rail and Jericho" I develop this argument by analyzing two fictional films, both made in 1946, that portray the Occupation and the Resistance using documentary footage: La Bataille du rail (dir. Rene Clement) and Jericho (dir. Henri Calef). In this chapter I argue that French cinema responded directly to the Purge which then went on to impact French postwar cultural memory and subsequent representations of the Occupation and the Resistance.In Part II, "Tracing the Purge" I focus on writing and authorial intention and how the Purge and its legacy continues to inform French politics and identity. I begin with a chapter on Albert Camus' La Peste (1947) titled "La Peste: An Allegory of the Purge." This chapter serves as a literary analogue to the exploration of film from Part I and engages directly with the ethics of representation, especially allegory. In the chapter I argue that La Peste is a critique of the Purge in that Camus draws attention to social and political conflicts of postwar France to construct a narrative of fragmented francite. In the final chapter, "Guy Moquet and the Memory Laws: Tracing the Purge in the 21st century" I contextualize the contemporary and recurring discussion of the Second World War in France in order to explore the legacy of the Purge and to consider how these representations shift into the twenty-first century. I argue that the Memory Laws are an extension of the Purge in that they re-frame current representations of the Occupation and the Resistance and the cultural memory of the war into a more diverse and heterogeneous francite for the 21st century.
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650 4 $a Comparative literature. $3 570001
650 4 $a Film studies. $3 2122736
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653 $a Francite
653 $a Memory
653 $a Purge
653 $a Resistance
653 $a World War
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793 $a English
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