Abstract

Of what in this epigraph is Bazin speaking exactly? What is the object of such declarative scorn? The answer is twice-told and it is doubled; for Bazin’s scorn is directed both at a social type (the concierge) and at an aesthetic object (Le Film complet), and his disdain of the one is necessarily folded into his disdain for the other. What I want to investigate in this paper is a little known phenomenon that was part of a field of cultural production between the wars in France and which took an aesthetic form of deserved importance in terms of its social relations. This paper, then, will necessarily be an investigation of a difference which is both cultural and social.

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