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001			muse84153
003			MdBmJHUP
005			20210127151523.0
006			m o d
007			cr||||||||nn|n
008			190903s2020 ncu o 00 0 eng d
010			_z 2019032714
020			_a9781478007531
020			_a1478007532
020			_z9781478006114
020			_z9781478006923
020			_z1478006110
035			_a(OCoLC)1138561546
040			_aMdBmJHUP _cMdBmJHUP
043			_ae-fr---
050	0	4	_aPN1993.5.F7 _bS66 2020
082	0		_a791.4309443/6 _223
100	1		_aSmoodin, Eric Loren, _eauthor.
245	1	0	_aParis in the Dark _bGoing to the Movies in the City of Light, 1930-1950 / _cEric Smoodin.
264		1	_bDuke University Press,
264		3	_bProject MUSE,
300			_a1 online resource (pages cm)
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction. A Walking Tour, 1930- -- Chapter 1. The Cinemas and the Films, 1931- -- Chapter 2. The Cine-Clubs, 1930- -- Chapter 3. Chevalier and Dietrich, 1929- -- Chapter 4. Violence at the Cinema, 1930- -- Chapter 5. Liberation Cinema, Postwar Cinema,1944- -- Conclusion. A Final Stroll, 1948-1954, 1980- .
506	0		_aOpen Access _fUnrestricted online access _2star
520			_a"PARIS IN THE DARK traces the history of film and film-going in Paris, from the advent of sound cinema, through the Nazi occupation, and finally to postwar reconstruction. Drawing from a wide range of archives, Eric Smoodin reconstructs a cinematic geography of Paris. Focusing on details of the exhibition and screening of films in the neighborhoods and districts of Paris, Smoodin explores how meaning not only is expressed through film, but also is shaped by the particularities of where, when, and how people engage with film, and how spectators understand their own relationships to film. By paying attention to the material and cultural systems that shape the reception of film on the local level-film journalism, distribution systems, movie theaters - Smoodin revises and expands our understanding of what it means to talk about a national cinema, and about French cinema in particular. The book's chapters take us on a tour of Parisian film from the 1930s to the 1950s. The first chapter focuses on films screened in Parisian cinemas from 1931 to 1933; Smoodin analyzes listings in the film tabloid Pour Vous for evidence of a changing film culture, marked by the transition to sound and the development of a transnational, transcultural cinematic economy. In subsequent chapters Smoodin covers topics ranging from the cine-clubs of Paris as sites of particular cinematic subcultures (1930-1944), to the impact of sound technology on the emerging stardom of Maurice Chevalier and Marlene Dietrich (1929-1935), to outbreaks of politically motivated violence at the cinema (1930-1944). Focusing more closely on the events of World War II, Smoodin examines how cinema became a form of cultural occupation under the Vichy regime (1939-1944). A final chapter looks at postwar cinema and film-going as an expression and celebration of liberation (1944-1949), while the conclusion considers French government studies of the habits of the national film-going public (1948-1954) in order to reflect on the state of Parisian film culture in more recent decades (1980-2016). PARIS IN THE DARK will interest scholars working in film studies, French culture and history, and cultural studies"-- _cProvided by publisher.
588			_aDescription based on print version record.
650		0	_aCulture in motion pictures.
650		0	_aNational characteristics in motion pictures.
650		0	_aMotion picture theaters _zFrance _zParis _xHistory.
650		0	_aMotion pictures _zFrance _zParis _xHistory.
651		0	_aParis (France) _xHistory.
655		7	_aElectronic books. _2local
776	1	8	_iOnline version: _tParis in the dark _dDurham : Duke University Press, 2020. _z9781478007531 _w(DLC) 2019032715
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/73703/
999			_c26042 _d26042