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Unreconciled representation

Operai, Contadini and documentary history

Bibliographic Data

ID2928095
AuthorsSam Di Iorio (Hunter College, City University of New York, corresponding author)
Year2025
Volume50
Issue3
Pages197-215
Publication date2025-09-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueContemporary French Civilization (JOURNAL)
Journal identifiersISSN: 0147-9156 • E-ISSN: 2044-396X
PublisherLiverpool University Press (PUBLISHER • GB)
DOI10.3828/cfc.2025.12
OpenAlexW4413426992
LanguageEN
Citations received1
References cited10

There are moments in French film history when the distinction between documentary and fiction becomes less important - the mid-1940s to the early 1970s, for example - and others, like the present, when the border is sharper, more perceptible, and more vexed. In the hopes of bringing this shifting boundary into clearer focus, my paper returns to a film from the very beginning of the new millennium, Danièle Huillet and Jean-Marie Straub's Elio Vittorini adaptation Operai, Contadini (2001). Drawing on writing by Jean-Louis Comolli and Jacques Rancière, I consider how the conceptual origins of Huillet and Straub's project connect to this long postwar period, to an understanding of cinema that leads from midcentury realism to a totalizing vision of cinéma direct. I explore how their film stages political and aesthetic oppositions and how its approach to representation is tied to a particular conception of dialectical reasoning. The final section considers the present-day relevance of this postwar French tendency to view documentary not as genre, but as practice

Art · Art history · Documentary film · Political science · Representation (politics) · History · Italian Fascism and Post-war Society · Law

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Unique citing works1
Citations per year1
Citation span2025 - 2025 (1)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 1

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