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Le cinéma comme art du conflit: l'exemple de Marcel Achard

Abstract : Marcel Achard's film career takes place from the thirties to the fifties, in a context where the notion of author gets confused regularly with that of writer-dialoguist. The Word is the weapon of the author as much as of his characters. The scenario then the movie can be considered as the territory or the story of a conflict, organizing stimulating connections between Word and Visual. First, these aspects appears in the participation of Achard to the production of Ernst Lubitsch's The Merry Widow (1934). Then, we'll evoke his long-lived collaboration with a less asserted director : Mac Allégret, for nine films, to which must be added some aborted projects. Their collaboration evolves from the apparent harmony until the open conflict. But their most accomplished works - Félicie Nanteuil / Twilight and Les Petites du quai aux fleurs (1944) – are paradoxically developped in a critical historical and personal context.
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Contributor : Nicolas Boscher <>
Submitted on : Wednesday, November 14, 2018 - 8:38:55 AM
Last modification on : Thursday, April 23, 2020 - 11:11:01 AM
Long-term archiving on: : Friday, February 15, 2019 - 12:19:59 PM


  • HAL Id : hal-01915531, version 1



Nicolas Boscher. Le cinéma comme art du conflit: l'exemple de Marcel Achard. Journée d'étude CEAC - Quel(s) scénario(s) pour quelles approche(s) du cinéma ?, Manon Billaut; Mélissa Gignac, Mar 2016, Lille, France. [13 p.]. ⟨hal-01915531⟩



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