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Cinema and historical culture of the...

O'Brien, Charles Hugh,

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Cinema and historical culture of the Third French Republic /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Cinema and historical culture of the Third French Republic // Charles Hugh O'Brien.
Author:	O'Brien, Charles Hugh,
Description:	1 electronic resource (246 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 55-03, Section: A.
Contained By:	Dissertations Abstracts International55-03A.
Subject:	European history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9308099
ISBN:	9798207975108

Cinema and historical culture of the Third French Republic /
O'Brien, Charles Hugh,

Cinema and historical culture of the Third French Republic /Charles Hugh O'Brien. - 1 electronic resource (246 pages)

Source: Dissertations Abstracts International, Volume: 55-03, Section: A.

This dissertation uses a variety of film examples to propose an account of French film history that stresses the relation between the cinema and France's official culture. It pays particular attention to films from the period between the world wars, primarily big-budget spectacles that have as their subject matter the heroic figures and events of the national history. The emphasis is on the use by particular films of the materials of an iconographic archive that since at least the 1880s had helped shape the collective memory of the national past. In chapters on Napoleon vu par Abel Gance, La Marseillaise, La Passion de Jeanne d'Arc and La Merveilleuse vie de Jeanne d'Arc, I offer analyses of particular images modelled on famous paintings and sculptures that had served as the prototypes for countless reproductions in a variety of media. On the one hand, I explore the cinema's role in reflecting an historical culture embodied in the school curriculum, national holidays and other official institutions. On the other hand, I consider the possibility that because the cinema opened a new cultural space, one that enabled a transgression of the very hierarchies basic to Republican society, the historical films performed a function very different from that of many of the works that they cite. In other words, while the historical films suggest that the cinema in France extended the official culture, they also indicate the cinema's role in bringing about changes in that culture's fundamental configurations. A concluding chapter explores the cinema's relation to the official culture with reference to the films of recent decades.

English

ISBN: 9798207975108Subjects--Topical Terms:

1972904
European history.
Subjects--Index Terms:

France

Cinema and historical culture of the Third French Republic /
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245 1 0 $a Cinema and historical culture of the Third French Republic / $c Charles Hugh O'Brien.
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500 $a Source: Dissertations Abstracts International, Volume: 55-03, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
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502 $b Ph.D. $c The University of Iowa $d 1992.
520 $a This dissertation uses a variety of film examples to propose an account of French film history that stresses the relation between the cinema and France's official culture. It pays particular attention to films from the period between the world wars, primarily big-budget spectacles that have as their subject matter the heroic figures and events of the national history. The emphasis is on the use by particular films of the materials of an iconographic archive that since at least the 1880s had helped shape the collective memory of the national past. In chapters on Napoleon vu par Abel Gance, La Marseillaise, La Passion de Jeanne d'Arc and La Merveilleuse vie de Jeanne d'Arc, I offer analyses of particular images modelled on famous paintings and sculptures that had served as the prototypes for countless reproductions in a variety of media. On the one hand, I explore the cinema's role in reflecting an historical culture embodied in the school curriculum, national holidays and other official institutions. On the other hand, I consider the possibility that because the cinema opened a new cultural space, one that enabled a transgression of the very hierarchies basic to Republican society, the historical films performed a function very different from that of many of the works that they cite. In other words, while the historical films suggest that the cinema in France extended the official culture, they also indicate the cinema's role in bringing about changes in that culture's fundamental configurations. A concluding chapter explores the cinema's relation to the official culture with reference to the films of recent decades.
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