France and the Mass Media by Brian Rigby, Nicholas Hewitt (eds.)

By Brian Rigby, Nicholas Hewitt (eds.)

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Hence the cultural apparatus worked out under the German Occupation was mobilised to prevent, as far as possible, anew, American, occupation. In this enterprise, which was by no means limited to the cultural sphere, the struggle against the Blum-Byrnes agreement took on a symbolic significance. The official Catholic Church found itself side by side with new allies, who agreed to forgive many of its past excesses and ambiguities in the name of a certain idea of France, free and independent, in which Catholics would have an assured place, recognised both by Gaullists and Communists.

In general, these changes were seen as a threat both to communities and to individuals ('persons'), involving as they did the experiences of uprooting, dehumanisation and alienation. 12 One of the prime objectives of the collection was, therefore, to counteract what were seen as the negative results of change by focusing on the human and the everyday dimensions of social and cultural life and by trying to see what these changes looked like from the point of view of ordinary people (usually working-class people), who were bearing the brunt of these changes.

In 1953 Seuil published the first edition of Regards neufs sur Ie cinema, edited by Jacques Chevallier and Max Egly, which contained an important contribution by Andre Bazin. In 1957 there also appeared Etienne Lalou's Regards neufs sur la television, which is an informative and lively account of the early days of television in France, and which is itself now an interesting historical document that demonstrates an unusually liberal and flexible intellectual response to this new cultural phenomenon.

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