By Pierre Sorlin

In the course of the moment international struggle and its aftermath, from monetary growth to commercial decline, Europeans have confronted related alterations in politics and their outlook on lifestyles. yet even at the eve of the formation of a unmarried eu group, their cultural backgrounds are faraway from unified.

In European Cinemas, eu Societies Pierre Sorlin appears to be like on the manner the international locations of Europe have expressed their cultural individuality in movie. for example, why do French movies have any such targeted sort, diversified from the goods of Hollywood, Germany, Italy and Britain? Sorlin additionally examines how the effect of a standard evolution towards federalism could be detected in films.

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How many men will escape? Like their American counterparts, most of these movies are classically ordered. Hollywood cannot fully explain this short revival of interest. The Europeans wanted to picture some of their most dramatic experiences. Movies were used to represent aspects of what was already becoming national history—Gallipoli, Douaumont, Verdun—and the American studios were unable to meet these expectations. Bernard, 1931) and Niemandsland—turned out to be more ambitious and disturbing.

War films are also narrations; they organize a few actions or events in order to fill the screen for eighty minutes. Narratively, the conflict can be a historical event against which the story is built, or the very centre, the theme of the film. Paradis perdu (‘Lost Paradise’), Journey’s End—the titles of these films tell spectators that life finished with the conflict. Nevertheless, despite the fact that the latter film was an English production, Britain did not indulge in this theme, which was also rarely—but more interestingly—treated on the continent.

But nobody, with one exception, discussed war with reference to its origins, its deepest roots. Jeffrey Richards, who has scrutinized the files of the British Board of Film Censors,9 proves that officials were concerned to prevent the screening of any story which could develop pacifist feelings and rejected projects involving, as was the case with Gance’s J’accuse, the return of the dead soldiers to urge the living not to begin another war. 28 EUROPEAN CINEMAS, EUROPEAN SOCIETIES However, Gance himself was not very happy with his film which was sharply criticized by the Left as well as by the Right.

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