PRIMUL RAZBOI MONDIAL SI METAFORA CINEMATOGRAFICA. SEMNIFICATII ÎN FILMUL J’ACCUSE (1919, 1938)
THE FIRST WORLD WAR AND CINEMATOGRAPHIC METAPHOR. MEANINGS CONVEYED IN J’ACCUSE (1919, 1938) FILM

Summary/Abstract: The present study begins from the context immediately created after the First World War, following the position of survivers and public opinion, in general, towards the ended conflagration. Special attention is paid to the French area, then it is discussed the way in which cinema, a „democratic” form of culture of rapid expansion, reflects social and political realities of respective years. The analysis focuses on the film J’accuse, of Abel Gance director, which had two releases or two different versions, one at the beginning of interwar period (1919) and the other one at its final (1938), film considered by critics as being the first important anti-war film. There are two guiding marks that define exactly the position of the pacifist segment towards war, each with its characteristic features, the first release making reference to the horrors bore by soldiers, that risk to be ignored by survivers, while the second addresses to the danger in which humanity is while menaced by the imminent outbreak of a new conflict. More images and symbols of the two releases are taken into consideration, analysing their significations. The central theme is the resurrection of dead soldiers and their march to draw attention or punishing the living, unworthy of the sacrifice made by the fallen.

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