metaphor, 26, 28, 51, 54, 57, 59, 86–88, 96, 102, 118, 127–128, 174, 189, 210, 216, 220

Middle Ages, 84–86

Moriconne, Enrico, 120

narrative, 2, 4, 33, 58, 132, 136, 139, 180, 218

L’Armée des ombres , 151, 156

La Bataille du rail , 107–108, 110–111, 114

Battle of Algiers , 117, 121

Le Chagrin et la pitié , 168

fractal narrative, 201–203

La Grande Illusion , 74–75

Hiroshima mon amour , 218–219

J’accuse , 17–18, 20, 22, 25–26, 28

Laissez-passer , 183–184, 186, 191, 194

narrative voice, 27, 30, 34–36

point of view, 39

Un long dimanche de fiançailles , 199, 204

Une affaire de femmes , 36–41, 44, 52

Les Visiteurs du soir , 78, 82, 174

naturalism, 41–42, 102, 124, 174, 216

hyper-realism, 187, 217

realism, 35, 37–38, 40–42, 44, 52, 66, 88, 101–102, 105, 111, 116, 121, 127–128, 132, 144, 177, 180, 209, 214, 217–218

Nazi, 40, 48, 54, 92, 112, 114, 145–147, 153–154, 161, 164, 169–171, 192–193

New History, 183, 185

Nietzsche, Frederick, 180

Nogueira, Rui, 139, 157

Nord, Pierre, 190, 192

Le Nouvel Observateur , 159

Occupation, 2–3, 54, 99, 102–104, 116, 131–133, 136, 138, 174–176, 215, 218

L’Armée des ombres , 153

La Bataille du rail , 105–107

Le Chagrin et la pitié , 159, 161–164, 168–170, 172

Laissez-passer , 182, 185, 188, 191, 194, 196, 209

Une affaire de femmes , 33, 47

Les Visiteurs du soir, 77–78, 88, 90–94, 96

ontology, 87, 108, 131–132, 173, 177, 185, 204, 217

Operation Overlord, 132

Ophüls, Marcel, 157–174

filmmaking, 137, 158, 164, 166–168, 173–174

Organisation d’armée secrète (OAS), 120

Orlando, Valérie, 121–122

palimpsest, 33, 51

Pétain, Maréchal Philippe, 90, 165–166, 169

la photogénie , 69–71

poetry, 20, 22–28, 38, 110, 114, 150, 214

Pollard, Miranda, 52, 158, 163–164, 168–169, 173

polycentricity, 143, 152–153, 166–167, 173, 210

Pontecorvo, Gillo, 116–131

filmmaking, 104, 117–122

Popular Front, 62, 76, 95

Positif , 261–262