Framing the Nation

Alison J. Murray Levine is Assistant Professor of French at the University of Virginia.

• 1. An Introduction; 2. Truth Peddling: Documentary Film in Interwar France; 3. "The Revolt of the Beets": Educational Film in Rural France; 4. "Model Native Villages:" Educational Film in the French Colonies; 5. "Mysterious and Subtle Cheesemaking": Filming Rural France; 6. "Carcasses of Manioc-Eaters": Filming Colonial France; 7. Conclusion: Recycling Rural Images - The Vichy Propaganda Machine.

"In her thoughtful and well-researched new study Framing the Nation, Alison Murray Levine argues convincingly that the French government used documentary film to help craft national identity in response to domestic and international crises during the in period. In doing so, the author demonstrates that state-sponsored French documentary cinema from the 1920s and 1930s serves as a repository for prevailing official discourses around modernization, urbanization, and colonialism. The author examines those discourses -- and the policy decisions to which they led -- in light of the international growth of documentary film as a flourishing new medium. Indeed, Murray Levine does a great service by situating the French contribution to documentary cinema in its proper place in the history of the medium." -Andrew Sobanet, Associate Professor of French, Georgetown University "Murray Levine traces the rise of nonfiction educational film in France during the 1920s, and the impact of the new genre on society. Film historians assert that the overall contribution of France to the development of documentary film was negligible before World War II, but she argues that the interwar examples were in fact of great importance then and remain of great interest now. Her topics include truth peddling, educational film in rural France, educational film in the French colonies, filming the French regions, filming colonial France, and the Vichy propaganda machine." -Eithne O'Leyne, BOOK NEWS, Inc. Framing the Nation is a most welcome publication. Interwar documentary has previously been overwhelmingly and undeservedly neglected by scholars of French film. This book makes up for that neglect in no uncertain terms. It is lucid, thoroughly researched and insightful. The productive way it is able to bring together text and context, ideology and political economy is quietly impressive and the kind of prehistory it provides for later and better known French documentary makes it required reading. --Martin O'Shaughnessy, Professor in Film Studies, Nottingham Trent University "...A sound and carefully-crafted addition to French and film history of the entre-deux-guerres, and one that will certainly be of use to scholars and students in these fields." -H-France