@article {3047473, title = {L\’Enfant aim{\'e} ou je joue {\`a} {\^e}tre une femme mari{\'e}e (1971) :moyen-m{\'e}trage disparu (et retrouv{\'e}) de Chantal Akerman}, journal = {Continuum}, year = {2020}, pages = {250-257}, abstract = {Analysis of the second\ Chantal Akerman film -\ L{\textquoteright}Enfant aim{\'e} ou je joue {\`a} {\^e}tre une femme mari{\'e}e (1971), Film which has disappeared and now has been discovered and analyzed for the first time.}, url = {https://www.researchgate.net/publication/349376277_L{\textquoteright}enfant_aime_ou_je_joue_a_etre_une_femme_mariee}, author = {Yehuda Moraly} } @inbook {2566771, title = {La repr{\'e}sentation du rapport Ma{\^\i}tre-El{\`e}ve dans l\’Univers juif et l\’Art occidental}, booktitle = {La transmission en question(s)}, year = {2020}, pages = {pp. 741-748}, publisher = {In Press}, organization = {In Press}, address = {Paris}, author = {Yehuda Moraly} } @booklet {322141, title = {Le Grand Tombeau des Beaux-Arts}, year = {2020}, pages = {82 pp}, publisher = {Orizons}, address = {Paris}, abstract = {

La forme du Grand Tombeau des Beaux-Arts varie selon l{\textquoteright}endroit o{\`u} on l{\textquoteright}installera : couloirs de th{\'e}{\^a}tre, galerie de peinture, {\'e}cole, arri{\`e}re-boutique o{\`u} l{\textquoteright}on discerne, dans les chasses serties, le riche corps des artistes d{\'e}funts.

Il suffit de peu de place (moiti{\'e} de quelque chose, bout de quoi ?) pour, sur du taffetas noir, disposer les poup{\'e}es souvenirs, Mickey Mouse, Giselle, la comtesse de S{\'e}gur, Verdi, Sarah Bernhardt, Kafka.

Les corps des marionnettes mondiales du r{\^e}ve ne sont pas ensevelis. On les voit dans leurs tombeaux transparents, recouverts de diamants, empanach{\'e}s par des embaumeurs habiles, sur leurs couches capitonn{\'e}es.

Dans le cimeti{\`e}re tous les Arts sont l{\`a}, {\'e}crivains, peintres, cin{\'e}astes, tous les personnages. Chacune des poup{\'e}es a un nom, son histoire.

On appuie sur un petit bouton et des com{\'e}diens prestigieux, pourquoi pas, murmurent les tr{\'e}pas en guirlande, les beaux discours testamentaires. Les derni{\`e}res paroles des stars peuvent {\^e}tre aussi enroul{\'e}es entre leurs doigts de plastique rose, {\'e}crites sur leur front ou projet{\'e}es sur le satin de la chambre mortuaire.

Les textes qui suivent sont donn{\'e}s {\`a} titre d{\textquoteright}exemple : il faudrait une centaine de sarcophages pour que le cimeti{\`e}re soit vraiment habit{\'e}. Mais il me semble qu{\textquoteright}apr{\`e}s avoir entendu quelques r{\'e}cits, le spectateur voudra se reposer. Il devra donc choisir un itin{\'e}raire dans la n{\'e}cropole des momies jouets.

Si on en a les moyens, on peut remplacer les voix par des com{\'e}diennes et des com{\'e}diens qui interpr{\'e}teraient chacun un ou plusieurs personnages.

Quant au lecteur qu{\textquoteright}il choisisse parmi les textes que je propose, deux ou trois, afin de sentir l{\textquoteright}esprit de la promenade th{\'e}{\^a}trale puis qu{\textquoteright}il saute au dernier tombeau, celui d{\textquoteright}Agatha Christie et de l{\textquoteright}inspiration sans fin.

}, url = {https://www.amazon.fr/grand-tombeau-Beaux-Arts-Jean-Bernard-Moraly/dp/B084QKQLPB/ref=sr_1_1?__mk_fr_FR=\%C3\%85M\%C3\%85\%C5\%BD\%C3\%95\%C3\%91\&dchild=1\&keywords=LE+GRAND+TOMBEAU+DES+BEAUX-ARTS\&qid=1591279779\&s=books\&sr=1-1}, author = {Yehuda Moraly} } @book {322140, title = {Revolution in Paradise: veiled representations of Jewish Characters in the cinema of occupied France}, year = {2020}, pages = {Pp. 276}, publisher = {Sussex Academic Press}, organization = {Sussex Academic Press}, address = {Brighton}, abstract = {The era of the German Occupation of France constituted, surprisingly, a golden age for the arts: literature, theater, popular music and cinema. These works of art seem to be devoid of political impact. The widespread trend of unrealistic and fantastic art during this period is explained by some scholars as the artists escape from the omnipotent eye of German censorship. The purpose of the book is to show that, contrary to the accepted view, some of these films were intimately linked to the political situation. They convey the demonization of characters that, while not specifically presented as Jews nevertheless manifested anti-Semitic stereotypes of the Jew as ugly, rootless, low, hypocritical, immoral, cruel and power hungry. All five movies analysed (Les Inconnus dans la maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel Carne, 1942; L{\textquoteright}Eternel retour, dir. Jean Delannoy, 1943; Les Enfants du Paradis, dir. Marcel Carne, 1943) present characters not identified as Jews but who exhibit negative Jewish traits, in contrast to the aristocratic characters whom they aspire to emulate. They demonstrate, implicitly, central themes of explicit anti-Semitic propaganda. Yehuda Moraly addresses two current major misconceptions regarding the Cinema of Occupied France: (1) that the accepted view that there were almost no explicitly Jewish characters in the cinema of that time and place is patently incorrect; and (2) that the feature films of Occupied France were not as it is commonly thought free of the propaganda messages that permeated the press, the radio and documentary films. Analysis of these films brings out the contradictory nature of European anti-Semitism. On one hand, the Jew is the anti-Christ, throttling the world with disgusting materialism while on the other hand, he is representative of an ancestral stifling morality, which it is time to abolish.}, url = {https://www.liverpooluniversitypress.co.uk/doi/book/10.3828/9781845197193?fbclid=IwAR1WnMTzCADGJv5Ob6SpOED-VGLK74LwxqSjmSCND9x_jfQoSDFxeTS_Rtw}, author = {Yehuda Moraly} }