Includes bibliographical references (pages 243-276), filmography (pages 277-286) and index.
Contents:
Introduction : Primal Scenes and Establishing Shots -- 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) -- 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 -- "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 -- 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 -- 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.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.