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Every artist has a dream project an enterprise that he or she has
continuously taken up but never completed. Via archived notes and
drafts, a retrospective reconstitution of such projects can serve
as a key for better understanding the authors artistic corpus. The
present study reaches out to the authorship of Paul Claudel, Jean
Genet, and Federico Fellini. Claudel deferred and never completed
the fourth segment of his Trilogie des Coufontaine. The only
indication of the existence of this prospective fourth part of the
theatre sequence is a brief entry in his Journal. In 1949, he began
writing a third version of his first great work Tete dOr. Like the
unfinished fourth section that was to be added to the trilogy, the
draft of the third version of Tete dOr reveals a dialogue between
the Old and New Testaments a theme that appears to be central to
Claudels entire corpus. Genet labored over La Mort for many years.
At the conclusion of Saint Genet, comedien et martyr (1952), Sartre
mentions this final work of Genet. Genet discussed his progress on
La Mort in correspondence and even published Fragments of La Mort
in the literary magazine Les Temps Modernes. While the project
never came to fruition, it nevertheless remains an important means
through which to understand Genets work. The aborted production of
Fellinis Voyage de G. Mastorna has become a legend. After 8" and
Giulietta degli spiriti, Fellini wrote a screenplay that he began
to film but subsequently abandoned, much to the chagrin of producer
Dino de Laurentiis who had already invested in sets and costumes.
Fellini would often revisit this project, but never completed it.
This book also examines additional dream projects taken from
different art forms: poetry (Mallarmes Le Livre); literature
(Vignys Daphne); painting (Monets Nympheas); music (Schoenbergs
Moses und Aron); and various films (Clouzots LEnfer, Viscontis La
Recherche, Kubricks Napoleon, etc.).
The era of the German Occupation of France constituted,
surprisingly, a golden age for the arts: literature, theater,
popular music and cinema. These works of art seem to be devoid of
political impact. The widespread trend of unrealistic and fantastic
art during this period is explained by some scholars as the artists
escape from the omnipotent eye of German censorship. The purpose of
the book is to show that, contrary to the accepted view, some of
these films were intimately linked to the political situation. They
convey the demonization of characters that, while not specifically
presented as Jews nevertheless manifested anti-Semitic stereotypes
of the Jew as ugly, rootless, low, hypocritical, immoral, cruel and
power hungry. All five movies analysed (Les Inconnus dans la
maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel
Carne, 1942; L'Eternel retour, dir. Jean Delannoy, 1943; Les
Enfants du Paradis, dir. Marcel Carne, 1943) present characters not
identified as Jews but who exhibit negative Jewish traits, in
contrast to the aristocratic characters whom they aspire to
emulate. They demonstrate, implicitly, central themes of explicit
anti-Semitic propaganda. Yehuda Moraly addresses two current major
misconceptions regarding the Cinema of Occupied France: (1) that
the accepted view that there were almost no explicitly Jewish
characters in the cinema of that time and place is patently
incorrect; and (2) that the feature films of Occupied France were
not as it is commonly thought free of the propaganda messages that
permeated the press, the radio and documentary films. Analysis of
these films brings out the contradictory nature of European
anti-Semitism. On one hand, the Jew is the anti-Christ, throttling
the world with disgusting materialism while on the other hand, he
is representative of an ancestral stifling morality, which it is
time to abolish.
The era of the German Occupation of France constituted,
surprisingly, a golden age for the arts: literature, theater,
popular music and cinema. These works of art seem to be devoid of
political impact. The widespread trend of unrealistic and fantastic
art during this period is explained by some scholars as the artists
escape from the omnipotent eye of German censorship. The purpose of
the book is to show that, contrary to the accepted view, some of
these films were intimately linked to the political situation. They
convey the demonization of characters that, while not specifically
presented as Jews nevertheless manifested anti-Semitic stereotypes
of the Jew as ugly, rootless, low, hypocritical, immoral, cruel and
power hungry. All five movies analysed (Les Inconnus dans la
maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel
Carne, 1942; L'Eternel retour, dir. Jean Delannoy, 1943; Les
Enfants du Paradis, dir. Marcel Carne, 1943) present characters not
identified as Jews but who exhibit negative Jewish traits, in
contrast to the aristocratic characters whom they aspire to
emulate. They demonstrate, implicitly, central themes of explicit
anti-Semitic propaganda. Yehuda Moraly addresses two current major
misconceptions regarding the Cinema of Occupied France: (1) that
the accepted view that there were almost no explicitly Jewish
characters in the cinema of that time and place is patently
incorrect; and (2) that the feature films of Occupied France were
not as it is commonly thought free of the propaganda messages that
permeated the press, the radio and documentary films. Analysis of
these films brings out the contradictory nature of European
anti-Semitism. On one hand, the Jew is the anti-Christ, throttling
the world with disgusting materialism while on the other hand, he
is representative of an ancestral stifling morality, which it is
time to abolish.
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