Critical Mass: Social Documentary in France from the Silent Era to the New Wave

Cover
Half Title
Title
Copyright
Contents
Introduction: Primal Scenes and Establishing Shots
1 A First Wave: Documentary Paris in the Shadow of the Talkies
	Somewhere Else: Georges Lacombe and La Zone (1928)
	The Ambiguities of Pure Cinema
	Paris by Night: Les Halles centrales (Boris Kaufman, 1928)
2 Visualizing Paris Anew
	Moving In, Moving Out: André Sauvage and Études sur Paris (1928)
	In Thrall to the Silent Image
	Sunday in the Country: Marcel Carné and Nogent, Eldorado du dimanche (1929)
	Through the Window
Transition I: Networking, 1929–1930
3 “All the World’s Misery”
	The End of the World
	A Kick in the Pants to Open Our Eyes: À propos de Nice (Jean Vigo, 1930)
	Sweet Children of Misery: Aubervilliers (Eli Lotar, 1946)
	The Slaughterhouse Photos
Transition II: Popular Front—Vichy—Postwar
4 Colonial Cinema and Its Discontents
	Making Waves: Afrique 50 (René Vautier, 1950)
	“We Martians of Africa”: Les Statues meurent aussi (Alain Resnais and Chris Marker, 1953)
	Whose Voice? Whose Film? Moi, un Noir (Jean Rouch, 1958)
Transition III: The Group of Thirty
5 Two Takes on Postwar Paris
	Scenes in a Library: Toute la mémoire du monde (Alain Resnais, 1956)
	Other Scenes in a Library
	Paris Springtime Zero: Le Joli Mai (Chris Marker, 1963)
	A Hard Left
Afterthoughts: A Radical Lyricism
Acknowledgments
Appendix A. Declaration of the Group of Thirty
Appendix B. Quality Subsidy Study: Short-Subject Advantages
Notes
Filmography
Index
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