Censure et consensus dans le cinéma de l'après-guerre : La genèse parallèle d' Au royaume des cieux (Julien Duvivier, 1949) et La Cage aux filles (Maurice Cloche, 1950).

Au royaume des cieux (The Sinners, Julien Duvivier, 1949) and La Cage aux filles (Cage of Girls, Maurice Cloche, 1950), two fiction features set in reform schools for young women, have a shared history. Based on the same real events, written and produced concurrently, they took diverging paths when undergoing government censorship. Duvivier's film, which lets the relationship between its story and the real world remain ambiguous, was left largely untouched; Maurice Cloche, on the other hand, agreed to work closely with the French Ministry of Justice and ended up directing an explicitly realist film that reproduces the authorities'' official discourse. Both films, however, present reformatories in a deceptive way that contradicts the journalism they were based on. Examining the parallel trajectories of both films as they were made, this article reexamines the role of negotiations and propaganda in the "consensual" nature of French cinema from the immediate post-war period. [ABSTRACT FROM AUTHOR]