When collective memory is a source of national debate, the public representation of history quickly becomes a locus of controversy and ideological struggle. This work shows how French film has allowed for a public airing of current concerns through the lens of memory's recreations of the Occupation.

Autorentext
Leah D. Hewitt is Professor of French at Amherst College and the author of Autobiographical Tightropes: Simone de Beauvoir, Nathalie Sarraute, Marguerite Duras, Monique Wittig and Maryse Condé. She has also published essays on autobiography, postwar French films, the New Novel, and French Caribbean literature.

Inhalt
Acknowledgments Film as Memory: A Battleground for Shaping Identity Transitions before the 'Sorrow': Criticism and Myth in the Late 1950s and Early 1960s Identity Politics in Films of the 1970s Occupational Performances in Truffaut's The Last Metro Ambiguous National Icons in Chabrol's Story of Women Love Stories, Real/Cinematic Heroines, the Postmoderns: The 1980s and Beyond In Lieu of a Conclusion Selective Bibliography Index