cinéma-vérité, 124, 167

Clément, René, 104–116, 131–132, 175

Paris brûle-t-il? (1966), 153

Clermont-Ferrand, 161–162, 169, 171

collaboration, 2, 39, 45, 48, 95, 103, 111, 160, 162–164, 176, 182, 188, 190, 193–195, 206, 209

colonialism, 117–119, 121, 124, 129, 132–133, 175

Comolli, Jean, 156

Conseil National de Résistance (CNR), 166

Continental-Films, 187–193, 195

Cowey, Petter, 63

Daniel, Joseph, 2, 4, 7, 33, 133, 210

film de guerre , 4, 54, 133, 210

film sur la guerre , 4, 9, 33, 54, 57, 95, 97, 210

danse macabre , 27–30

Davis, Natalie Zemon, 5, 233

Le Débâcle , 2, 7, 91, 96, 195

defamiliarization, 16

Degliame-Fouché, Marcel, 166

Deleuze, Gilles, 7, 59, 121–122, 234

crystalline regime, 218

hors champs , 58–59, 62, 66, 147, 204

irrational interval, 150, 214, 217–218

montage, 58–59

movement-image, 58

organic regime, 52, 122, 149, 236

time-image, 59, 218

Devaivre, Jean, 184, 186–196

dialectic, 63, 68, 117, 119, 130, 138

document of social history, 5

Sorlin, Pierre, 4–6, 75

specific films as

L’Armée des ombres , 174–175

La Bataille du rail , 131–132

Battle of Algiersil , 131–132

Le Chagrin et la pitiéil , 174–175

La Grande Illusionil , 95–96

Hiroshima mon amouril , 219

J’Accuse , 53

Laissez-passer , 208

Un long dimanche de fiançailles , 208

Une affaire de femmes , 53

Les Visiteurs du soir , 95–96

documentary aesthetic, 37, 41, 66, 100, 104–105, 107–108, 114, 117, 119, 121, 125, 127, 154, 209, 217

Doriot, Jacques, 171

du Jonchay, Colonel R., 167, 191

Dubuis, Jacques, 186

Dubuis, Simone, 186–187, 191, 195

Duclos, Jacques, 161, 166–167

Duras, Marguerite, 135, 211, 214, 216, 219

Eco, Umberto, 84–86

Ehrlich, Evelyn, 57, 182, 189

Eisenstein, Sergei, 120

epistemological skepticism, 6, 10, 181, 214, 219

Everett, Wendy, 201

experiments in history, 179–181, 207, 210

Faulkner, Christopher, 75

Ferro, Marc, 6

Le Figaro , 156