Abstract
Abstract This chapter focuses on French cinema during the Occupation by the Germans. Central offices (the COIC) monitored the streamlined exhibition and distribution of films. As the scam productions rife during the 1930s disappeared, average revenues grew, even though a third fewer films were made. Despite censorship, viewers stuck with French cinema, since there was little foreign competition. Escapist comedies, historical romances, and biopics dominated, but critics primarily focused on self-enclosed dark dramas, such as Robert Bresson’s Les Anges du péché, H.-G. Clouzot’s Le Corbeau, and Marcel Carné’s Les Visiteurs du soir. The latter’s Les Enfants du paradis, the grandest film of the era, opened just as the Germans capitulated and it was celebrated as representing France’s return to international acclaim in cinema.
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