This comprehensive historical study of French films made between 1930 and 1956-before, during, and after the Second World War-homes in on cinematic representations of gender relations.
Presents a critique of 'classical' approaches to film: the assumptions that what we call the language of film was a natural, organic development, and that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being.
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