366 | notes to pages 224–239
35. Chombart de Lauwe, Anthropologue, 91.
36. “La Butte à la Reine,” episode of À la découverte des français [television series], dir. Jean-
Claude Bergeret and Jacques Krier, with the Groupe d’ethnologie sociale du CNRS; Paul-Henry
Chombart de Lauwe, consultant (ORTF, broadcast April 12, 1957).
37. See in particular the publications of the Commissariat à la construction et à l’urba-
nisation on building projects in the Paris region, and Jacques Fresnais, ed., Une politique du
logement: Ministère de la reconstruction et de l’urbanisme, 1944–1954 (Paris: IFA-PCA, 1997),
99–105.
38. Levy, Chombart de Lauwe: Un sociologue,” 92.
39. Bergeret and Krier, “La Butte à la Reine.”
40. The term film noir first surfaced in France to describe American detective films produced
between 1940 and the late 1950s. On this genre, see Robin Buss, French Film Noir (London and
New York: Marion Boyars, 1994).
41. Marcel Carné, dir., Les Portes de la nuit, (Pathé Consortium Cinéma, 1946).
42. See Marcel Carné, Ma vie à belles dentes (Paris: Archipel, 1996), 13.
43. Quoted in Jean-Claude Klein, La Chanson à l’affiche: Histoire de la chanson française du
café concert à nos jours (Paris: DuMay, 1991), 101.
44. Quoted in Bernard Chardère, Le Cinéma de Jacques Prévert (Bordeaux: Castor Astral,
2001), 229–30.
45. Résistance, December 8, 1946. See also La France au combat, December 19, 1946, and Le
Cinéma, December 13, 1946.
46. Vincendeau, “The Art of Spectacle: The Aesthetics of Classical French Cinema,” in Temple
and Wit, The French Cinema Book, 149.
47. Marcel Carné, dir., L’Air de Paris (Del Duca Films–Galatea, 1954). See also Michel Perez,
Les Films de Carné (Paris: Ramsey, 1986).
48. “Le Monde de Jacques Prévert,” Positif: Revue périodique de cinéma 2 (1953–54): 76–77.
49. Arts, September 15, 1954.
50. René Clair, dir., Porte des Lilas (Filmsonor and Cinétel, 1956).
51. Les Lettres françaises, October 5, 1957.
52. Les Lettres françaises, September 9, 1957.
53. L’Humanité, September 28, 1957, and Esprit, December 1, 1957. The term “cinematic
pantomime” is used by Joël Magny in “Paris et la nouvelle vague,” quoted in Annie Fourcaut,
“Aux origines du film de banlieue: Les Banlieusards au cinéma (1930–1980),” in Robert and
Tartakowsky, “Le Peuple et tous ses états,” 120.
54. Eli Lotar, dir., Aubervilliers (1945).
55. On the roots of this poetic realist vision in the prewar avant-garde, see Ian Walker, City
Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris (Manchester and
New York: Manchester University Press, 2002).
56. Clébert, Paris insolite, 49.
57. See Combat, March 30, 1946. Aubervilliers was usually shown in Paris theaters along with
René Clément’s La Bataille du rail, a heroic celebration of Resistance and reconstruction lionized
by the Communist Party, as well as Prévert and Grimault’s Le Voleur de paratonnerres.
58. Jean Dewever, dir., La Crise du logement, (Oka Films, 1956).
59. See, for example, Marcel Ranchal’s review of La Crise du logement in Positif: Revue pério-
dique de cinéma 27 (April 1958): 52–53.
60. Roland Bernard, dir., Problèmes de la construction [television series], “Entretien avec Mon-
sieur Pierre Sudreau, Ministère de la reconstruction” (ORTF, broadcast November 6, 1958). On
this television series, see Evelyne Cohen, “Expliquer Paris à la télévision: Pierre Sudreau et les
problèmes de la construction (1958),” Sociétes et représentations 17 (2004): 117–27.
61. Jacques Tati, dir., Mon oncle (Specta Films, 1958).
62. Les Lettres françaises, May 2, 1958.