The Crowd As New Monumentality During the Popular Front
The Crowd As New Monumentality During the Popular Front
This chapter addresses the spectacular and massive nature of the architecture of the films themselves—that is to say, the way in which the crowd functions metaphorically as a building block of social cohesion. The stories being told by leftist militant filmmaking of the Popular front are analysed as a spatialized discourse where the crowd becomes a living construction. The portrayal of the worker as individual and member of the mass is crucially cinematographic: militant films cast their spectators as extensions of the films’ worlds. Furthermore, the visual rhetoric of these films opens avenues of insight into the spatial representations and politics of more mainstream products of 1930s cinema culture, such as Julien Duvivier’s La Belle équipe.
Keywords: Julien Duvivier, Louis Marin, Ciné-liberté, worker, mass, crowd, Jacques Lemare, Jean Renoir, Jean Epstein, strikes
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