독일강점기 프랑스를 영화로 재현하기 — <라콩브 뤼시앵> —
Representing France during the German Occupation in the Film — Lacombe Lucien —
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This article attempts to analyze a fiction film directed by Louis Malle in 1974, Lacombe Lucien, which played a huge role in breaking down the myth of the resistancialism that had dominated the collective memory of the French on the German occupation for decades after the Liberation. The film, dealing with the life of a French young man who served the German police(Gestapo) in a small town of southwestern France in 1944, drove the French into a great shock and bitter controversies. Although the first criticism of the myth of the resistancialism was made by The Sorrow and the Pity, a documentary film by Marcel Ophuls in 1969, Lacombe Lucien made a much stronger impact. It also needs to be appreciated as a historical film representing France at the end of the German Occupation, and portraying quite well the shift of public opinion in the transition period toward the collapse of the Vichy regime and Nazi Germany.
Abstract
This article attempts to analyze a fiction film directed by Louis Malle in 1974, Lacombe Lucien, which played a huge role in breaking down the myth of the resistancialism that had dominated the collective memory of the French on the German occupation for decades after the Liberation. The film, dealing with the life of a French young man who served the German police(Gestapo) in a small town of southwestern France in 1944, drove the French into a great shock and bitter controversies. Although the first criticism of the myth of the resistancialism was made by The Sorrow and the Pity, a documentary film by Marcel Ophuls in 1969, Lacombe Lucien made a much stronger impact. It also needs to be appreciated as a historical film representing France at the end of the German Occupation, and portraying quite well the shift of public opinion in the transition period toward the collapse of the Vichy regime and Nazi Germany.
참고문헌 (47)
- "Les amis du film et de la télévision", ~
- "L’Aurore", ~
- "Cahiers du cinéma", ~
- "Le Canard enchaîné", ~
- "Charlie Hebdo Cinéma", ~
- "Cinématographe", ~
- "Combat", ~
- "La Croix", ~
- "Les Echos", ~
- "Ecran", ~
- "L’Express", ~
- "Le Figaro", ~
- "France nouvelle", ~
- "France-Soir", ~
- "L’Humanité", ~
- "L’Humanité Dimanche", ~
- "Jeune Cinéma", ~
- "Libération", ~
- "Minute", ~
- "Le Monde", ~
- "Le Nouvel Observateur", ~
- "Le Point", ~
- "Politique hebdo", ~
- "Positif", ~
- "La Quinzaine littéraire", ~
- "La Revue du cinéma: Image et Son", ~
- "Téléciné", ~
- "Télérama", ~
- "Témoignage chrétien", ~
- "Tribune socialiste", ~
- 이용우, "프랑스의 과거사 청산 : 숙청과 기억의 역사, 1944~2004" (2008), 역사비평사
- 이용우, "레지스탕스를 영화로 재현하기－<철로 전투>, <그림자 군단>, <범죄 군단>을 중심으로－", 프랑스사 연구, (38), pp.239~286 (2018), 한국프랑스사학회[DOI]
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