Abstract

In the late summer of 1944, members of the Comité de la Libération du Cinéma Français (CLCF) seized the historical moment and captured on film the popular uprising that swept across the capital city in the week that preceded the arrival of Allied armies in Paris on 25 August, 1944. For filmmakers such as Jean Grémillon, an active member of the French Resistance and founding member of the CLCF, the scenes of ordinary Parisians battling Hitler’s occupying forces evoked memory of the Paris Commune, whose parallels with the postwar present Grémillon sought to highlight in La Commune de Paris, the feature film he began envisioning in the final months of the war. This essay considers the political climate that doomed Grémillon’s project to failure and calls attention to a second film, a 1951 documentary short, also titled La Commune de Paris, that Robert Ménégoz was able to bring to completion, but that also fell into the oblivion into which government censorship cast it. A central question the essay raises concerns why the efforts postwar filmmakers made to recall the history of the Paris Commune met with such stiff resistance in the years immediately following the Nazi Occupation of France.

摘要

1944 年夏末，法国电影解放委员会 (CLCF) 的成员抓住了这一历史时刻，将盟军抵达巴黎前一周席卷首都的民众起义拍摄成影片。 1944 年 8 月 25 日。对于法国抵抗运动的积极成员和 CLCF 的创始成员让·格雷米永 (Jean Grémillon) 等电影制片人来说，普通巴黎人与希特勒占领军作战的场景唤起了对巴黎公社的记忆，巴黎公社与战后的现在的格雷米永有相似之处。在《巴黎公社》中要强调的是，他在战争的最后几个月开始构思这部故事片。本文探讨了注定格雷米永项目失败的政治气候，并提请人们注意第二部电影，一部 1951 年的纪录片短片，也名为《巴黎公社》，罗伯特·梅内戈兹得以完成这部影片，但也被遗忘了。哪个政府审查制度铸造了它。这篇文章提出的一个核心问题是，为什么战后电影制片人为回忆巴黎公社历史所做的努力在纳粹占领法国后的几年里遭到了如此强烈的抵制。