And the Show Went On: Cultural Life in Nazi-Occupied Paris
(OverDrive MP3 Audiobook, OverDrive Listen)

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Tantor Media 2010
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Description

In the weeks after the Germans captured Paris, theaters, opera houses, and nightclubs reopened to occupiers and French citizens alike, and they remained open for the duration of the war. Alan Riding introduces a pageant of twentieth-century artists who lived and worked under the Nazis and explores the decisions each made about whether to stay or flee, collaborate or resist.

We see Maurice Chevalier and Edith Piaf singing before French and German audiences; Picasso painting and occasionally selling his work from his Left Bank apartment; and Marcel Carné and Henri-Georges Clouzot, among others, directing movies in Paris studios (more than two hundred were produced during this time). We see that pro-Fascist writers such as Louis-Ferdinand Céline and Robert Brasillach flourished, but also that Camus's The Stranger was published and Sartre's play No Exit was first performed—-ten days before the Normandy landings.

Based on exhaustive research and extensive interviews, And the Show Went On sheds a clarifying light on a protean and problematic era in twentieth-century European cultural history.

More Details
Format:
OverDrive MP3 Audiobook, OverDrive Listen
Edition:
Unabridged
Street Date:
10/19/2010
Language:
English
ISBN:
9781400198337
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Citations
APA Citation (style guide)

Alan Riding. (2010). And the Show Went On: Cultural Life in Nazi-Occupied Paris. Unabridged Tantor Media.

Chicago / Turabian - Author Date Citation (style guide)

Alan Riding. 2010. And the Show Went On: Cultural Life in Nazi-Occupied Paris. Tantor Media.

Chicago / Turabian - Humanities Citation (style guide)

Alan Riding, And the Show Went On: Cultural Life in Nazi-Occupied Paris. Tantor Media, 2010.

MLA Citation (style guide)

Alan Riding. And the Show Went On: Cultural Life in Nazi-Occupied Paris. Unabridged Tantor Media, 2010.

Note! Citation formats are based on standards as of July 2010. Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy.
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Needs Update?:
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Date Added:
Nov 09, 2015 16:34:33
Date Updated:
Oct 13, 2018 04:56:08
Last Metadata Check:
Oct 13, 2018 05:24:04
Last Metadata Change:
Jul 27, 2018 20:10:25
Last Availability Check:
Oct 13, 2018 05:24:06
Last Availability Change:
Jun 18, 2018 23:55:59

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shortDescription

In the weeks after the Germans captured Paris, theaters, opera houses, and nightclubs reopened to occupiers and French citizens alike, and they remained open for the duration of the war. Alan Riding introduces a pageant of twentieth-century artists who lived and worked under the Nazis and explores the decisions each made about whether to stay or flee, collaborate or resist.

We see Maurice Chevalier and Edith Piaf singing before French and German audiences; Picasso painting and occasionally selling his work from his Left Bank apartment; and Marcel Carné and Henri-Georges Clouzot, among others, directing movies in Paris studios (more than two hundred were produced during this time). We see that pro-Fascist writers such as Louis-Ferdinand Céline and Robert Brasillach flourished, but also that Camus's The Stranger was published and Sartre's play No Exit was first performed—-ten days before the Normandy landings.

Based on exhaustive research and...

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In the weeks after the Germans captured Paris, theaters, opera houses, and nightclubs reopened to occupiers and French citizens alike, and they remained open for the duration of the war. Alan Riding introduces a pageant of twentieth-century artists who lived and worked under the Nazis and explores the decisions each made about whether to stay or flee, collaborate or resist.

We see Maurice Chevalier and Edith Piaf singing before French and German audiences; Picasso painting and occasionally selling his work from his Left Bank apartment; and Marcel Carné and Henri-Georges Clouzot, among others, directing movies in Paris studios (more than two hundred were produced during this time). We see that pro-Fascist writers such as Louis-Ferdinand Céline and Robert Brasillach flourished, but also that Camus's The Stranger was published and Sartre's play No Exit was first performed—-ten days before the Normandy landings.

Based on exhaustive research and extensive interviews, And the Show Went On sheds a clarifying light on a protean and problematic era in twentieth-century European cultural history.

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