A specialist in the relationship between cinema and workers’ movements, the historian Tangui Perron was in Cannes on Saturday, invited by the Departmental Union of CGT unions, to discuss his book “Red carpet and class struggle” (editions de l’Atelier). In the heart of the Palais des Festivals, alongside Sophie Binet, general secretary of the CGT, the author recalled the popular and militant origins of the Cannes Festival. And how this can be translated today.
Why does it sound paradoxical to associate the Cannes Film Festival and the working world?
Seen from today, when we see the luxury displayed, the financial waste, in environmental terms, the glitter and all that, it’s paradoxical but, beyond that, there is a real movie-loving passion and a story that is much more complex, including a social history.
The Festival, remember, it’s not just the stars, it’s buildings that had to be built, people to screen the films…
Of course, even today, it’s workers, employees, people who select films, who screen them, who welcome the guests, it’s a colossal job. And a colossal economy, which benefits the region. Then, in the genesis of the Festival, there is a social origin. His birth [en 1939, première édition qui n’aura pas lieu pour cause de seconde Guerre mondiale, Ndlr], it is a reaction to Mussolini’s control of the Venice festival. It is a liberal anti-fascism carried by Jean Zay, the Minister of Fine Arts and Public Education. Then, within the framework of the victory of the Allies and the reconstruction, it was the workers’ movement which would carry the editions of 1946 and especially 47 at arm’s length. [les deux premières éditions effectives].
Is your role as a historian to recall this? Sophie Binet says: so that it is not ”invisibilized”?
Yes, I have always wanted to show that, contrary to what people think, there are fruitful links between these two worlds. Emancipation is at stake at the level of culture and work. The history of the Festival is part of a social history that must be reaffirmed.
Is the Festival also unique for that? Is this spirit maintained, particularly through programming?
This festival is unique given its history, its size, it is the largest in the world! Given its paradoxes, its richness and, indeed, its social dimension. We remember Justine Triet’s speech last year [Palme d’or avec “Anatomie d’une chute”]. Through its programming of course, we remember for example “Parasite” [Palme d’or 2019], which highlights the class struggle, in a virulent manner moreover. This struggle is present in the daily life of the festival and sometimes in the prize lists.
The CGT still sits on the festival’s board of directors, but “it’s a struggle to be visible”, why?
There is a class struggle in memory and everyday life, if we erase this history, we could dismiss the CGT. There is a social and geographical struggle too, being able to demonstrate in front of the palace is no longer possible for example, it was.
However, you are there, the CGT is there, and you are not against the Festival, is that what is said to those who accuse of collusion?
Yes and we hold on to this place. We must oppose populism and the demagoguery that accuses us of it, we must be there. It is important economically, for employees, and for cultural history. Culture is emancipation, it’s not just entertainment. We are richer in different cultures if we are more educated, better activists if we are more cultured. And cultural people will open up more to the world if they are more interested in the world of work too.
“Red carpet and class struggle”. Tangui Perron. Editions de l’Atelier. 140 pages. 16 euros.
