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This history covers the filmmaking tradition often referred to as
cinema militant, which emerged in France during the events of May
1968 and flourished for a decade. While some films produced were
created by established filmmakers, including Chris Marker, Jean-Luc
Godard, and William Klein, others were helmed by left-wing
filmmakers working in the extreme margins of French cinema. This
latter group gave voice to underrepresented populations, such as
undocumented immigrants (sans papiers), entry-level factory workers
(ouvriers specialises), highly intellectual Marxist-Leninist
collectives, and militant special interest groups. While this book
spans the broad history of this uncharted tradition, it
particularly focuses on these lesser-known figures and works and
the films of Cinelutte, Les groupes medvedkine, Atelier de
recherche cinematographique, Cinethique, and the influential
Marxist filmmaker Jean-Pierre Thorn. Each represent a certain
tendency of this movement in French film history, offering an
invaluable account of a tradition that also sought to share untold
histories.
This history covers the filmmaking tradition often referred to as
cinema militant, which emerged in France during the events of May
1968 and flourished for a decade. While some films produced were
created by established filmmakers, including Chris Marker, Jean-Luc
Godard, and William Klein, others were helmed by left-wing
filmmakers working in the extreme margins of French cinema. This
latter group gave voice to underrepresented populations, such as
undocumented immigrants (sans papiers), entry-level factory workers
(ouvriers specialises), highly intellectual Marxist-Leninist
collectives, and militant special interest groups. While this book
spans the broad history of this uncharted tradition, it
particularly focuses on these lesser-known figures and works and
the films of Cinelutte, Les groupes medvedkine, Atelier de
recherche cinematographique, Cinethique, and the influential
Marxist filmmaker Jean-Pierre Thorn. Each represent a certain
tendency of this movement in French film history, offering an
invaluable account of a tradition that also sought to share untold
histories.
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