By Alastair Phillips
The quantity is the first-ever book-length examine of the cinematic illustration of Paris within the motion pictures of German ?migr? filmmakers, a lot of whom fled there as a safe haven from Hitler. In coming to Paris—a privileged website by way of construction, exhibition, and picture culture—these skilled pros additionally encountered resistance: hostility towards Germans, anti-Semitism, and boycotts from a French terrified of wasting jobs to foreigners. Phillips juxtaposes the cinematic portrayal of Paris within the motion pictures 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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Additional resources for City of Darkness, City of Light: Emigre Filmmakers in Paris 1929-1939 (Film Culture in Transition)
Carco sug- 46 City of Darkness, City of Light gested that the cinema was “less collective and more direct”, meaning that the partnership between the viewer and the screen was as immediate and intense as the intimate bond created between the mind of a novelist and his or her reader. Consequently, what mattered for both figures was the evocation of social atmosphere and detail over the display and artifice of spectacle and performance. Carco, for example, wrote in his article about a subsequent film project which would draw upon his personal knowledge of the men and women of “certain obscure corners” of Paris whilst Litvak, according to the memoirs of the assistant producer on Coeur de lilas, René Lucot (1984), made extensive searches for authentic Parisian locations prior to shooting the film.
A. production system could engage in producing high quality popular cinematic entertainment. “The Germans make commercial films in the best sense of the word”, he commented. ) In all technical matters, our neighbours make no compromises; near enough is not good enough” (in Crisp, 179). The music hall star Florelle, whose first films were shot in the German capital, also commented that the reason working in the Berlin studios was so agreeable was “because everything is organised there in such a precise fashion”.
Convention, Ludwig Klitzsch, the Director General, noted the advantages of geographical and cultural proximity in combatting the aims of Hollywood. “Since the coming of sound, the American film industry has almost entirely lost its non-English speaking territories”, he remarked. “... A. ) thanks to the central geographical situation which Germany occupies in Europe which allows it to work in common with those countries who are in need of sound films in their own country but don’t possess the means to create and maintain a national film industry” (in Icart, 48).
City of Darkness, City of Light: Emigre Filmmakers in Paris 1929-1939 (Film Culture in Transition) by Alastair Phillips