City of Darkness, City of Light
Alastair Phillips
Biographies & Memoirs
City of Darkness, City of Light

This title is the first ever book-length study of the cinematic representation of Paris in the films of German emigré filmmakers, who found there a first refuge from Hitler. In coming to Paris - the privileged site in terms of production, exhibition as well as the cinematic imaginary of French film culture - these experienced film professionals encountered also a darker side: hostility toward Germans, anti-Semitism, as well as boycotts from French industry personnel, afraid of losing their jobs to foreigners. The book juxtaposes the cinematic portrayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Max Ophüls, Anatol Litvak and others with the wider social and cultural debates about the city in the cinema.

City of Darkness, City of Light is de eerste monografie over de representatie van Parijs in de films van uitgeweken Duitse filmmakers die tijdens Hitlers bewind hun toevlucht zochten in de 'Lichtstad'. Met hun komst naar Parijs - de plaats bij uitstek voor de productie, vertoning en de verbeelding van de Franse filmcultuur - leerden deze ervaren filmprofessionals ook de keerzijde van de stad kennen: een vijandige houding jegens Duitsers, anti-semitisme en boycots van Fransen die werkzaam waren in de filmindustrie en bang waren hun baan te verliezen aan de buitenlanders. City of Darkness, City of Light vergelijkt de cinematografische verbeelding van Parijs in de films van Robert Siodmak, Billy Wilder, Fritz Lang, Max Ophüls, Anatol Litvak en vele anderen met de bredere sociale en culturele debatten over de stad in de cinema.

Chapter One: Introduction
Diversity and Exchange – Rethinking the National in European Cinema
Cinema and the City
Paris and the 1930s
Paris and French Cinema of the 1930s
France and the Émigrés
City of Darkness, City of Light
Chapter Two: The City in Context
An Historical Ambivalence
Modernity and the City
National Boundaries and Early European Sound Cinema
Paris as Staging Ground for the Early Sound Wars
Berlin as Prestige Model and Place of Work for French Film Industry Professionals
Patterns of Exile and Emigration in the Pre-Nazi Era: The Russians and their Relationships to Paris and Berlin
Trade and Economic Emigration from Berlin to Paris before 1933
Case Study One: Anatole Litvak
Case Study Two: Kurt Courant
The Rise of the Nazis in Berlin and the Politics of Departure
The Place of Jews in Paris
Reception: The Émigrés’ Arrival in Paris
Reception: The French Film Industry
Case Study Three: Erich Pommer
Case Study Four: Robert Siodmak
Chapter Three: City of Light
Paris as Spectacle
Paris and the Spectacle of Entertainment
Parisian Journeys Across Time and Space
Chapter Four: City of Darkness
The Camera Goes Down the Streets: ‘The Hidden Spirit Under the Familiar Façade’
Framing the Urban Decor – The Émigrés and Poetic Realism
Spaces of Crime and Pleasure in the City of Darkness
Parisian Journeys Between the Past and the Present
Chapter Five: Divided City
The Divided City in Context
Divided Characters, Divided City
Journeys Across the Divided City
Chapter Six: Conclusion
Appendix One: Tobis In Paris Filmography 1929-1939
Appendix Two: Osso Filmography 1930-1939
Appendix Three: Anatole Litvak Filmography 1930-1936
Appendix Four: Kurt Courant Filmography 1929-1939
Appendix Five: Erich Pommer French-Language Filmography 1930-1934
Appendix Six: Robert Siodmak French-Language Filmography 1931-1939
Appendix Seven: Nero Films Filmography 1930-1939
Appendix Eight: La Crise est finie
Appendix Nine: La Vie Parisienne
Appendix Ten: Mauvaise graine
Appendix Eleven: Coeur de lilas
Appendix Twelve: Dans les rues
Appendix Thirteen: Carrefour
Appendix Fourteen: Pièges
Appendix Fifteen: Liliom
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