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Thirty years of doctoral theses on French cinema
Thirty years of doctoral theses on French cinema
by Phil Powrie
This article collects data on doctoral theses in French cinema since the early 1970s through to 2002. The data has been collected from a variety of sources: for France , the Service de l'Agence Bibliographique de l'Enseignement Supérieur (SUDOC); for the USA , UMI Dissertation Abstracts ; and for Great Britain and Ireland , the Index of Theses (ASLIB). There are just over 380 doctoral theses collected; some theses are the French Doctorat d'État , rather than the PhD equivalent (the thèse de troisième cycle ); this explains, for example, why there are two theses by Jean-Pierre Bertin-Maghit. Both of these, the Doctorat d'État and the thèse de troisième cycle , were replaced in 1985 by a single doctorat nouveau régime , akin to the PhD thesis. A word of caution is appropriate, however. The list is unlikely to be complete, first because not all theses on French cinema will have been included in these three databases; second, because the databases do not always give abstracts. This is particularly true of the French database; I have erred on the side of caution when listing theses whose titles were not clearly linked to French cinema, and may well have omitted a significant number. At best, then, what follows should be taken as a snapshot of research into French cinema in France , the USA , Great Britain and Canada in the last 30 years or so.
The theses are listed by the author's name in the table in Appendix 1. The table also gives the year in which the thesis was awarded, key words (which tend to be the names of directors, even when the thesis is on a specific film or films), and the awarding institution. There are number of other Appendices in the form of tables and a graph. The text which precedes the Appendices is presented as a set of brief points whose aim is to present a clear summary of trends in research into French cinema based on the various Appendices. Percentages have been rounded up or down for ease of reading.
Looking back
a) First theses
- The first doctoral thesis incorporating work on French cinema appears to be Judith Gollub's work on the interface between Nouveau Roman and Nouvelle Vague (1966, University of California , Los Angeles ).
- The first US thesis to be fully focused on cinema was Dudley Andrew's work on André Bazin (1972, Iowa ).
- The first French thesis appeared the same year as Dudley Andrew's; it was by the late Alain Virmaux on the Surrealist and avant-garde habit of writing film-scripts for films which were never made (1972, Paris 4).
- The first British thesis was by Ginette Vincendeau (1985, East Anglia ) on the popular cinema of the 1930s.
b) Numerical and geographical spread of theses
- 26 theses were awarded in the 1970s, 78 in the 1980s, and 176 in the 1990s.
- There have been at least 10 theses per annum since 1991. The number went over 20 in 1997, and over 30 in 1998.
- 14 out of 104 institutions have awarded five or more theses.
- Those 14 institutions have awarded 52% of the total number of theses (200 out of 383).
- The top five institutions quantitatively are Paris 1 (40, or 20% of the top 14 and 10% of the total worldwide); Paris 3 (38; 19%; 10%); New York University (21; 11%; 6%); Toulouse 2 (15; 8%; 4%); Iowa (15; 8%; 4%).
- Unsurprisingly, France has the greatest share worldwide (185 theses out of 383, or 48%); but this is followed closely by the USA (148; 39%). Great Britain has 19, or 5%.
c) Directors studied
The most popular director is Godard; 32 theses are devoted wholly or partly to his work. There are approx 10 theses on Godard in each of the 1980s and 1990s, and no less than 6 already in the 00s. Interest in Godard is evenly shared between France and the USA , who have 10 theses each. The other major directors are:
- Renoir 22; 7 in the 1980s and 12 in the 1990s
- Bresson 15; all but 3 of these were awarded since 1990
- Truffaut 14; like Godard, evenly spread over the 1980s and 1990s, but with as many theses again --6-- in the first two years of the 00s
- Resnais 11; evenly spread over the 1980s and 1990s
- Duras 11; mostly in the 1990s
- Buñuel 7
- Dulac 5
- Varda 5
- Akerman 4
- Clair 4
- Cocteau 4
- Méliès 4
- Pagnol 4
d) Periods studied
There are a number of theses on the period of the 1930s (7), or on the Nouvelle Vague more generally (7). When amalgamated with the relevant directors, these two periods remain consistently the most researched periods in French cinema. The Nouvelle Vague is in top position with over 60 theses (depending on the status of the work on Resnais and Varda). Surprisingly, though, major NouvelleVague directors are under-researched in comparison with Godard and Truffaut: Demy, Rivette, and Rohmer only have two theses each, and Chabrol no doctoral theses (although there are a couple of MA dissertations).
e) Film theory
Film theory remains a focal point of interest (24, or 6%): Bazin (13), Metz (6), Epstein (4), with one thesis on Mitry and another on Cohen-Seat. However, this work tends to be focused in the late 1970s and 1980s, with the exception of interest in Jean Epstein (a more recent trend).
f) Recent trends
- Industry. A major and relatively recent interest has been a variety of aspects of the film industry (30). In this category we find a strong focus on distribution and marketing (8), economic issues (7), legal issues (5), and relationships with television in the wider audiovisual arena (2). Most of the work has occurred since 1990 (18), with no less than 6 theses in the year 2000.
- Francophone and colonial cinemas. Francophone cinemas form a large proportion of the total (27, or 7%), with six specifically on the cinema of Quebec; this sometimes overlaps with regional cinema issues (5). All three of these topics (Francophone, Quebec , regional) began appearing in the late 1980s; the focus on colonial cinema (5) began in the mid-1990s.
- Cinema and society. This includes documentary films (9), as well as more general topics concerning cinema and society (9). This latter category began appearing in the early 1990s, and is a catch-all category, which includes, amongst others, theses on representations of the police, the PCF, AIDS and food in the cinema.
- Music and soundtrack studies , which started with 2 late 1970s theses, began in earnest in the mid-1990s (3 each).
- The relationship between Hollywood and the French national cinema , has become more prominent since the mid-1990s (5).
Looking ahead
I have also looked at theses which are currently being worked on in Great Britain and France . There are 231; the details for most of these are gleaned from the fichier central des thèses , the centralised list of current theses on the website of the University of Paris 10 ( Nanterre ); current theses in the USA are not listed because a centralised list does not to my knowledge exist. Current theses can be found in Appendix 5, where I have listed only those undertaken since 1990. The reason for this has to do with the average time taken to complete a thesis. Statistics provided by the French Ministry for Education suggest that the average completion period for a doctoral thesis is four years; in fact, a comparison of thesis start- and end-dates suggests that most French theses on the cinema are completed on average in five-six years. Theses started in the 1980s are therefore statistically unlikely to come to fruition. A census of current theses beginning in 1990 should capture the majority of projects likely to come to fruition. A note of caution is in order, however. Some of those listed here may never be completed; the trends outlined here are therefore potentially unreliable. Nevertheless, even if at best they only indicate what young scholars wish to work on, rather than actual contributions to knowledge, they are still a useful indicator of future trends.
a) Annual registrations
Apart from 1991 and 1993 when the number of theses registered in France (figures for Great Britain are unreliable) was in single figures, most of the remaining years have seen at least 15 a year, with several years going into the 20s (1995: 25; 1996: 21; 1998: 24; 2000: 22). See Appendix 6.
b) Numerical and geographical spread of theses
There are 211 registered in France (91%), and 20 in Great Britain (9%). Predictably, Paris universities have the lion's share, with 123 (53%), and within Paris the proportions are similar to those for completed theses: Paris 1 (46), Paris 3 (43), Paris 8 (13), Paris 10 (12), Paris 7 (8). Where the provincial universities are concerned, Toulouse (11), Aix-Marseille (9), Lyon 2 (7) have been overtaken by Nancy 2 (22) and Montpellier (11), with Caen (8), Strasbourg (7) and Rennes 2 (6) showing strong development in postgraduate research.
c) Directors studied
Godard is again the most studied director (15). The most significant change here though is that Bresson (6), Duras (2), Renoir (6), Resnais (6) and Truffaut (5), previously the most-studied directors after Godard, have been joined by directors who either did not figure at all previously, or only just figured, such as Eustache (4), Garrel (3), Guédiguian (3), Marker (6), Pialat (6), Rivette (4), Sautet (3), Tati (5). Even Chabrol, with not a single thesis devoted to his work in a thirty-year period, is now being worked on.
d) Trends previously identified
Whereas film theory seemed important in the 1970s and 80s, very little work is now being done in this area, with the exception of an interest in Deleuze (2). The themes I outlined in the section on recent trends for completed theses remain, but there are sometimes significant differences:
- Industry. If production and distribution issues are still a strong focus, there is a new emphasis on what we could call paratextual activities, such as the work of the Cinémathèque, the ciné-clubs, the festivals, the 1920s cinema press, and publicity stills.
- Cinema and society. There are once again a number of theses with an anthropological focus. However, there is a less heteroclite focus on broad social issues, and a stronger focus on cinema and politics (6), or on directors who might be considered political such as Marker. There is also a new focus in this area on the cinéma de banlieue (3).
- The relationship between French national cinema and other national cinemas. Although the relationship between French and US cinema remains (6), work is now being done on the relationship with other national cinemas, such as Great Britain (1), Germany (1), but more particularly Italy (3).
e) New developments
- Silent cinema. Whereas there had only been a couple of theses focusing directly on the silent cinema in the list of completed theses (1981 and 2001), there has been a marked increase since 1990 with 7 theses on different aspects of the silent cinema, whether issues to do with sound/music (2), or genre (1), or more historical studies, such as the relationship between French and German silent cinema (1), or the cinema press (1). Again, this new development corresponds to scholarly publications in the USA and France in particular (see Abel 2001).
- Star studies. Until now, there has been very little work on stars (only 2 theses, both focusing on Jean Marais). However, this appears to be changing, since there are 4 theses in preparation on stars (Signoret and Léaud in Great Britain; Deneuve and the jeunes premiers 1955-65 in France).
- Popular cinema. French cinema studies is often said to be relatively uninterested in genre studies. Although there are couple of theses on the polar or police thriller, work on comedy is confined to director studies, particularly Tati, as was the case for completed theses. However, there is a new focus on popular directors more generally, such as Autant-Lara, Jacques Becker, Christian-Jaque (2), Guitry, and Le Chanois.
These last two new developments correspond to publications in these areas. For star studies, for example, there is in the UK Vincendeau 2000, and Hayward and Leahy 's work on Signoret (2000, 2001, 2002), and in France (Azzopardi 1997 and Chapuy 2001). We can also note the recent appearance in a venerable University-oriented collection of Nacache 2003, which demonstrates the acceptance of Star Studies in the French academy. And where popular directors are concerned, there has been a recent book on Duvivier in France (Bonnefille 2002).
In conclusion, we can see that work in French cinema studies over the last thirty years has shifted slowly away from film theory and a small group of canonical directors or canonical periods (basically Renoir, Godard, Truffaut, and Bresson), to a much larger group of directors and new interests. The following appeared in the late 1980s and 1990s: the industry, very broadly defined; Francophone and colonial studies; cinema and society; music and soundtrack studies; the relationship between the French and US cinemas. The following have appeared more recently: cinema and politics, the relationship between French and non-US cinemas; silent cinema; star studies; and, finally, popular as opposed to art-house directors.
References
Abel, Richard (2001), ' Frame Stories for Writing the History of French Silent Cinema', Studies in French Cinema 2/1: 5-13.
Azzopardi, Michel (1997), Le Temps des vamps 1915-1965 (Cinquante ans de sex-appeal) , Paris, L'Harmattan.
Bonnefille, Eric (2002), Julien Duvivier: mal aimant du cinéma français , vol 1 1896-1940, vol 2 1940-1967, Paris, LHarmattan.
Chapuy, Arnaud (2001), Martine Carol filmée par Christian-Jaque: un phénomène du cinéma populaire , Paris, L'Harmattan.
Hayward, Susan (2001), 'Setting The Agenders: Simone Signoret-The Pre-Feminist Star Body, Gender and French Cinema , edited by A.Hughes & J.Williams, Oxford & New York, Berg, pp.107-24.
Hayward , Susan (2002), 'Simone Signoret (1921-1985): The Body Political, Women's Studies International Forum 23/6: 739-47.
Hayward , Susan & Leahy , Sarah (2000), 'The Tainted Woman-Pathology and its displacement: Simone Signoret's body as site of retribution, in Heroines without Heroes: Female Identities in Post-War European Cinema 1945-51 , edited by U.Sieglohr, London , Cassell, pp.76-88.
Nacache, Jacqueline (2003), L'Acteur de cinéma , Paris, Nathan.
Vincendeau, Ginette (2000), Stars and Stardom in French Cinema , London / New York , Continuum.
I would like to thank Raphaël Moine and Geneviève Sellier of AFFECAV for providing further information on completed theses.
Tables
Statistics compiled October 2003.
Completed theses by country and by year
|
USA |
France |
GB |
Canada |
TOTAL |
1966 |
1 |
0 |
0 |
0 |
1 |
1967 |
0 |
0 |
0 |
0 |
0 |
1968 |
0 |
0 |
0 |
0 |
0 |
1969 |
0 |
0 |
0 |
0 |
0 |
1970 |
0 |
0 |
0 |
0 |
0 |
1971 |
0 |
0 |
0 |
0 |
0 |
1972 |
1 |
1 |
0 |
0 |
2 |
1973 |
1 |
0 |
0 |
0 |
1 |
1974 |
2 |
1 |
0 |
0 |
3 |
1975 |
1 |
0 |
0 |
0 |
1 |
1976 |
4 |
1 |
0 |
0 |
5 |
1977 |
3 |
0 |
0 |
0 |
3 |
1978 |
2 |
2 |
0 |
0 |
4 |
1979 |
3 |
3 |
0 |
0 |
6 |
1980 |
3 |
0 |
0 |
0 |
3 |
1981 |
6 |
1 |
0 |
0 |
7 |
1982 |
7 |
3 |
0 |
0 |
10 |
1983 |
7 |
5 |
0 |
0 |
12 |
1984 |
2 |
1 |
0 |
0 |
3 |
1985 |
1 |
0 |
1 |
0 |
2 |
1986 |
5 |
4 |
1 |
0 |
10 |
1987 |
1 |
14 |
0 |
0 |
15 |
1988 |
1 |
7 |
0 |
0 |
8 |
1989 |
4 |
4 |
0 |
0 |
8 |
1990 |
1 |
5 |
0 |
0 |
6 |
1991 |
5 |
4 |
1 |
0 |
10 |
1992 |
7 |
8 |
0 |
0 |
15 |
1993 |
4 |
9 |
1 |
0 |
14 |
1994 |
4 |
7 |
0 |
2 |
13 |
1995 |
4 |
9 |
0 |
0 |
13 |
1996 |
8 |
8 |
1 |
0 |
17 |
1997 |
8 |
18 |
0 |
2 |
28 |
1998 |
10 |
18 |
2 |
2 |
32 |
1999 |
12 |
19 |
0 |
1 |
32 |
2000 |
9 |
19 |
4 |
1 |
33 |
2001 |
10 |
7 |
2 |
1 |
20 |
2002 |
10 |
5 |
2 |
1 |
18 |
TOTAL |
147 |
183 |
15 |
10 |
355 |
Total number of completed theses by year
Theses on French Cinema: Theses completed (by author)
Send omissions, additions, or amendments to Phil Powrie . Last amended 28 March 2005 .
Acker, Yvan |
Subversion et utopie, chez Jean-Luc Godard , d'après Pierrot le Fou : l'entre et l'ailleurs |
1987 |
Godard |
Paris 10 |
Aldstadt, David |
Imaginary co-signatures: collaboration, authorship, and star personae in films by Marcel Carné with Arletty and by Jean Cocteau with Jean Marais |
2002 |
Carné, Cocteau, Arletty, Marais |
Ohio State |
Alfonsi , Laurence |
La réception de François Truffaut auprès de la critique et du public à l'étranger |
1997 |
Truffaut |
Toulouse 2 |
Allain, Patrice |
Du surréalisme à la production audiovisuelle: Jacques Viot, un parcours exemplaire |
1997 |
Viot |
Nantes |
Allen, Richard |
Representation, meaning and experience in the CINÉMA: a critical study of contemporary film theory |
1989 |
Bazin |
California , LA |
Allezaud, Robert |
Le cinéma réaliste français du Front populaire à nos jours |
1979 |
|
Paris 8 |
Amad, Paula |
Archiving the everyday: a topos in French film history 1895-1931 |
2002 |
documentary, Delluc |
Chicago |
Amiel Vincent |
La temporalité du récit chez François Truffaut: achèvement et corruption de la figure |
1982 |
Truffaut |
Paris 1 |
Amy de la Breteque, François |
L'imaginaire médiéval dans le cinéma occidental |
2000 |
Truffaut |
Paris 3 |
Andrade-Watkins, Claire |
Francophone African CINÉMA: French financial and technical assistance 1961-1977 |
1989 |
Francophone, industry |
Boston |
Andrew, Dudley |
Realism and reality in CINÉMA: the film theory of André Bazin and its source in recent French thought |
1972 |
Bazin |
Iowa |
Andrews, Ben |
The semiotics of film sound: a study of the sound/image articulation in Adieu Philippine |
1979 |
sound |
Missouri-Columbia |
Araszkiewiez, Jacques |
L'imagination du signe: de la fonction dans les films et dans l'étude des films |
1992 |
|
Paris 3 |
Archimandritis , Georgios |
Le myth d'Orphée dans le théâtre et le cinéma du 20e siècle |
2000 |
|
Paris 4 |
Argote, JOEl |
Spatial explorations: The banlieue in French film and fiction of the 1990s |
2001 |
banlieue |
North Carolina , Chapel Hill |
Arsenault, Michel |
Laboratoire de création cinématographique: kinesthésie de l'ouvre d'art filmique et de faux pas à partir de la sémiotique de C S Pierce |
1997 |
Godard |
Laval |
Auzel , Dominique |
L'ouvre d'un incurable du cinématographe: Emile Reynaud chercheur, inventeur, et artiste, véritable précurseur des projections animées à l'origine même du spectacle cinématographique |
1991 |
Reynaud |
Toulouse 2 |
|
|
|
|
|
Baccash, Ralph |
Le théâtre classique et ses harmoniques cinématographiques |
1976 |
|
California , LA |
Baggett, Marie-Pierre |
Représentations de l'histoire: problématisation théorique et formelle dans les romans et les films de Jorge Semprun |
1996 |
Semprun |
California , Irvine |
Bailly , Monique |
Ecriture et imaginaire chez Marcel Hanoun |
1987 |
Hanoun |
Paris 3 |
Bargach, Selma |
Le statut et le rôle de la femme dans le cinéma marocain |
1997 |
Francophone |
Paris 1 |
Barnier, Louis Martin |
Les voix de la liberté: la généralisation du cinéma parlant |
1996 |
sound |
Paris 3 |
Baux , Pierre |
Carmen: l'adaptation |
1991 |
Carmen |
Toulouse 2 |
Bayles, Janette |
Figuring the abject: politics, aesthetics and the crisis of national identity in interwar French literature and CINÉMA |
1999 |
Poetic realism |
Iowa |
Bekkar , Fatima |
Le renouveau des cinématographies arabes (1980-1998): approche thématique et esthétique |
2000 |
Francophone |
Paris 1 |
Bellemare , Denis |
La mélancolie et le banal: essai sur le cinéma québecois |
1993 |
Quebec |
Paris 3 |
Benali, Abdelkader |
L'espace maghrébin dans le cinéma colonial français (1919-1939): espace filmique et analyse du discours cinématographique colonial |
1997 |
colonial |
Paris 10 |
Benmessaoud, Hamid |
La guerre d'Algérie dans le cinéma français |
1996 |
colonial |
Toulouse 2 |
Bermondy, Marion |
Moral authority in French and American CINÉMA about the family |
1994 |
US/Fr |
Purdue |
Bernas, Steven |
Archéologie et évolution de la notion d'auteur |
2000 |
auteurism |
Paris 1 |
Berne, Claire |
Histoire du droit du cinéma français |
2000 |
industry |
Paris 1 |
Berthet, Frédérique |
Anatole Dauman, un producteur dans le cinéma français (1950-1998): contribution à une histoire économique du culturel |
2001 |
Dauman |
Paris 3 |
Berthomé, Jean-Pierre |
L'ouvre de Jacques Demy |
1982 |
Demy |
Paris 1 |
BERTHE, CATHERINE |
LE CINÉMA POLICIER FRANÇAIS (1910-1950) |
2003 |
POLAR |
PARIS 1 |
Bertin-Maghit, Jean-Pierre |
Les films français de 1940 à 1944 : signification et fonction sociale |
1978 |
WW2 |
Nice |
Bertin-Maghit, Jean-Pierre |
Le c inéma français : rupture et régénération : 1940-1946 |
1987 |
WW2 |
Nice |
Betz, Mark |
Remapping European art CINÉMA, 1945-1975: a historiography of geopolitical and disciplinary boundaries |
1999 |
Nouvelle Vague, co-prods |
Rochester |
Bhagwan, Sharon Indira |
A logic of distraction: spectacle, thought, and capital in French New Wave CINÉMA |
2002 |
Nouvelle Vague |
Harvard |
Biancorosso, Giorgio |
Where dos the music come from? Studies in the aesthetics of film music |
2002 |
music |
Princeton |
Bidaublaye , Dominique |
Expression régionale et cinéma : l'expérience de Landes mortes, landes vivantes |
1987 |
regional |
Paris 10 |
BINET, FREDERIC |
PIERRE COLOMBIER, DEUX DECENNIES DE COMÉDIE DANS LE CINÉMA FRANÇAIS DE 1920 À 1929 |
2003 |
COMEDY |
PARIS 1 |
Blaetz, Robin |
Strategies of containment: Joan of Arc in film |
1989 |
Méliès, Delannoy, Dreyer, Bresson |
New York |
Blanchard, André |
Le cinéma régional dans le cinéma québecois: l'exemple abitibien |
1987 |
Quebec |
Paris 1 |
Bloom, Peter |
Networks of empire: the French colonial archive 1889-1933 |
1997 |
colonial |
California , LA |
Bluher, Dominique |
Le cinéma dans le cinéma: film(s) dans le film et mise en abyme |
1997 |
|
Paris 3 |
Bodon, Jean-Richard |
André Bazin's 'Charlie Chaplin': an annotated translation and analysis of text based on methods derived from 'De la politique des auteurs' |
1985 |
Bazin |
Florida State |
Bogart, Betsy Ann |
Music and narrative in the French New Wave: the films of Agnès Varda and Jacques Demy |
2001 |
Varda, Demy |
California , LA |
Bohler, Olivier, |
Vestiges de soi, vertige de l'autre : l'homme de l'après-guerre dans le cinéma de Jean-Pierre Melville |
2000 |
Melville |
Provence |
Boissard, Christine |
Comment raconter une histoire vraie: Le Trou de Jacques Becker |
1979 |
Becker |
Paris 1 |
Bonnell, René |
L'initiative culturelle en économie de marché: le cinéma français depuis 1945 |
1976 |
industry |
Paris 1 |
Bordwell, David |
French Impressionist CINÉMA: film culture, film theory and film style |
1974 |
Impressionism |
Iowa |
Borgomano, Laure |
L'imaginaire dans l'ouvre cinématographique d'André Delvaux |
1991 |
Delvaux |
Grenoble 3 |
Borodin, Natalia |
Peut-on adapter A la recherche du temps perdu de Proust à l'écran? |
1987 |
adaptation |
Paris 1 |
Bourehla, Hedia |
La tradition orale source d'inspiration à la creation cinématographique arabe |
1997 |
Francophone |
Paris 1 |
Bowles, Brett |
Representing rural France : a cultural history of Marcel Pagnol's CINÉMA (1933-1938) |
1998 |
Pagnol |
Pennsylvania State |
Brenez, Nicole |
Autour du Mépris : deux problèmes cinématographiques rapportés à l'invention figurative et solutions filmiques |
1989 |
Godard |
Ecole des Hautes Etudes en Sciences Sociales |
Brubaker, David |
André Bazin's realism: the metaphysics of film reception |
1991 |
Bazin |
Illinois , Chicago |
Brun, Marie-Thérèse |
Le cinéma des années 80: 'esthétique publicitaire'ou 'post-modernisme'? Une esthétique de la communication en quête de légitimité |
1993 |
1980s |
Paris 3 |
Brunet, Nicole |
Essai d'analyse cinématographique de la communauté des Sauniers de l'Ile de Noirmoutier |
1986 |
|
Paris 7 |
Buchanan, Sarah |
Inside, outside and inside-out: gender and nationalism in French immigration literature and film |
2000 |
Beur |
Minnesota |
Buchsbaum, Jonathan |
Left political filmmaking in France in the 1930s |
1983 |
Renoir |
New York |
Butler, Kristine |
Hearing voices: audition and artistic identity in French text and film |
1998 |
L'Herbier, Clair, Renoir |
Minnesota |
Butler, Margaret |
Images of community in British and French CINÉMA 1939-1951 |
2000 |
|
Essex |
|
|
|
|
|
Cailler, Bruno |
Production cinématographique et production t élévisuelle: vers une filière audiovisuelle intégrée. De la logique de préfinancement à la coproduction et à l'adossement |
1999 |
industry |
Grenoble 3 |
Callahan, Vicki |
Zones of anxiety: movement, Musidora, and the crime serials of Louis Feuillade |
1996 |
Feuillade, Musidora |
California , LA |
Cani, Isabelle |
'A qui l'on en sert ?'Modernisation du motif du Graal dans la literature et le CINÉMA francophones et anglophones |
1998 |
|
Tours |
Cannon, Stephen |
Making films politically ? The filmmaking practice of Jean-Luc Godard |
1993 |
Godard |
Aston |
Carroll, Noel |
Some philosophical issues of film theory |
1983 |
Bazin |
Illinois , Chicago |
Carter, Sandra |
Moroccan CINÉMA: what Moroccan CINÉMA? |
1999 |
Francophone |
Texas , Austin |
Chakour, Abdelhakim |
Le pessimisme au cinéma français sous l'occupation allemande à travers Le Corbeau de Henri-Georges Clouzot |
1995 |
Clouzot |
Toulouse 2 |
Chamayou, Bernard |
Exactitude documentaire et vérité picturale du cinéma de Maurice Pialat : l'inconciliable |
1990 |
Pialat |
Toulouse 2 |
Chamki, Sonia |
La problématique de l'enfermement dans le cinéma tunisien des années 1980-1995 |
2000 |
Francophone |
Paris 1 |
Champetier, Dominique |
L'exploitation en salle du film cinématographique |
1995 |
industry |
Clermont-Ferrand 1 |
Chang, Grace |
Border crossings: essays on gender, spectatorship and performance in French and francophone film and novel |
1999 |
Renoir, Allégret, Drabo |
Yale |
CHANUDAUD, STEPHANE |
LA MUSIQUE DANS LES CINÉMAS FRANÇAIS , EUROPÉEN ET AMÉRICAIN DE L'AVÈNEMENT DU CINÉMA PARLANT AUX ANNÉES DE L'ÂGE D'OR |
2003 |
MUSIC |
AIX MARSEILLE 1 |
Charpentier, Frank |
Jean-Luc Godard : les films des 'années 80'à la lumière de l'analogie |
1993 |
Godard |
Paris 7 |
Chemery, Philippe |
Genèse et état des films d'entreprise en France |
1991 |
documentary |
Paris 1 |
Chen, James |
Displacement of the eye/I in the text: anti-ocularcentrism in Samuel Beckett's trilogy and Jean-Luc Godard's Two or three things I know about her |
1994 |
Godard |
Ohio State |
Chene, Joanne |
La représentation de la femme dans le films québecois mettant en scène les années 1900 à 1950 |
1998 |
Quebec |
Laval |
Cherabi, Nadia |
Les représentations sociales dans le cinéma algérien de 1964 à 1980 |
1987 |
Francophone |
Paris 3 |
Chesler, Judd |
Toward a surrealist film aesthetic with an investigation into the elements of surrealism in the Marx Brothers and Jean Vigo |
1976 |
Vigo |
Northwestern |
Chevaldonné, Yves |
Les premiers temps du cinéma dans la Vaucluse 1896-1914 |
1999 |
regional |
Paris 3 |
Choukroun, Jacques |
Histoire économique du cinéma français de 1928 à 1939: du parlant à la guerre |
2000 |
industry |
Aix-Marseille 1 |
Cleder, Jean |
Entre littérature et cinéma: Eric Rohmer, esthétique et l'ontologie de la séduction |
1995 |
Rohmer |
Rennes 2 |
Clerc, Jeanne-Marie |
Les écrivains français devant le CINÉMA: visualité et problèmes d'écriture dans le roman français contemporain entre 1925 et 1966 |
1983 |
|
Paris 3 |
Cleyen, Jacques |
La politique du cinéma français : stratégies et réalisations 1929-1935 |
1983 |
|
Ecole des Hautes Etudes en Sciences Sociales |
Conway, Kelley |
The chanteuse at the city limits: femininity, Paris , and the CINÉMA |
1999 |
|
California , LA |
Copjec, Joan |
Apparatus and umbra: a feminist critique of film theory |
1986 |
Lacan |
New York |
Cormerais, Franck |
La raison du jeu: l'ouvre écrite et filmique de Jacques Rivette de 1949 à 1989, pour une visiographie d'artiste |
1992 |
Rivette |
Paris 1 |
CORNETTE, MAXIME |
LES DIALOGUES D'HENRI JEANSON : TENSION ENTRE MONOLOGISME ET DIALOGISME |
2003 |
JEANSON |
Aix-Marseille 1 |
Coureau, Didier |
Jean-Luc Godard 1990-1995, Nouvelle vague, Hélas pour moi, JLG/JLG : complexité esthétique/ esthétique de la complexité |
1998 |
Godard |
Paris 8 |
Cozyris, George |
Christian Metz and the reality of film |
1979 |
Metz |
Southern California |
Cravenne, Robert |
La promotion du cinéma français à l'étranger |
1993 |
industry |
Toulouse 1 |
Crawford, Lawrence |
Economies and figurations of action and object in the text and discourse of narrative film |
1983 |
Resnais |
Minnesota |
Croquet, Christine |
Image, images de films: la mise en texte et le rôle des acteurs dans les campagnes de communication du cin éma en France |
1996 |
industry |
Lille 3 |
Curchod, Olivier |
La méthode Renoir en question: la stratégie du personnage dans La Règle du jeu |
2002 |
Renoir |
Paris 3 |
Curot, Frank |
L'espace filmique de Jean Renoir |
1986 |
Renoir |
Paris 1 |
|
|
|
|
|
Dacié, Jean |
Les structures et la situation de la production audiovisuelle en France : étude de l'évolution économique de la Société Française de Production et de Création Audiovisuelles (SFP) |
1992 |
industry |
Paris 1 |
Dalmolin, Eliane |
Cutting the body: Poetry, CINÉMA and psychoanalysis |
1991 |
Truffaut |
Cornell |
Danan, Martine |
From nationalism to globalization: France 's challenges to Hollywood 's hegemony |
1994 |
US/Fr |
Michigan Tech |
Darre, Yan n |
La valorisation de l'activité professionnelle. Cinéma, logistique et muséographie: trois cas de redefinition sociale de l'activité |
1996 |
industry |
Ecole des Hautes Etudes en Sciences Sociales |
Dehayes, Thierry |
Marcel Pagnol adaptateur |
1999 |
Pagnol |
Le Mans |
Dehée, Yannick |
Mythologies politiques du cinéma français: les figures du pouvoir de 1968 à la fin des années 1980 |
1998 |
|
Institute d'Etudes Politiques |
Del Rio , Elena |
The technological imaginary in the CINÉMA of Antonioni, Godard and Atom Egoyan |
1996 |
Godard |
California , Berkeley |
Delmeulle, Frédéric |
Contribution à l'histoire du cinéma documentaire en France: le cas de l'Encyclopédie Gaumont (1909-1929) |
1999 |
documentary |
Paris 3 |
Denault, Jocelyne |
L'histoire des femmes dans le cinéma du Québec des débuts à 1969 |
1994 |
Quebec |
Montreal |
Dispas, Christine |
The suspension of breath: Amfortas, Beatrice and Katharina wait for Godot |
1991 |
Tavernier, Duras |
Maryland College Park |
Donelan, Carol |
Aesthetics of the ' Third Way ': realisms in the modern European CINÉMA |
1998 |
Godard, Bresson |
Massachusets |
Dozoretz, Wendy |
Germaine Dulac: filmmaker, polemicist, theoretician |
1982 |
Dulac |
New York |
Dukule, Abdoulaye |
Idéologie et structure dans le nouveau cinéma français: Godard et Duras |
1986 |
Godard, Duras |
Illinois , Urbana-Champaign |
Dutheil de la Rochère, Anne-Elisabeth |
La Victorine, 1919-1929. Un studio français à l'époque du muet |
1997 |
|
Chartes |
|
|
|
|
|
Ebrahim, Haseenah |
Re-viewing the tropical paradise : Afro-Caribbean women filmmakers |
1998 |
Francophone, Palcy |
Northwestern |
Ehrlich, Evelyn |
The French CINÉMA under the German Occupation |
1982 |
industry |
New York |
EROSS, GABOR |
L'ART DE L'HISTOIRE. SOCIOLOGIE CULTURELLE DE L'IMAGE-PASEE: REPRESENTATIONS DE L'HISTOIRE ET DE LA MEMOIRE DANS LES CINEMAS Français ET HONGROIS (1958-2002) |
2003 |
HISTOIRE |
EHESS |
Esien, I. |
The politics and Poetics of subjective response in the work of Michel Leiris, Antonin Artaud and the ethnographic films of Jean Rouch |
1998 |
Rouch |
Cambridge , UK |
Esposito, Maria |
Space, place and the past: the construction of national CINÉMA and identity in the contemporary film de patrimoine in France |
2000 |
|
North London |
Esquenazi, Jean-Pierre |
Configurations d'espaces-temps dans le film |
1992 |
|
Paris 3 |
Ethis, Emmanuel |
Les spectateurs du temps: introduction à une sociologie de la réception des ouvres filmiques |
1998 |
|
Ecole des Hautes Etudes en Sciences Sociales |
|
|
|
|
|
Falih, Mohamed |
La technique et la thématique de l'espace filmique de Jean Renoir |
1995 |
Renoir |
Toulouse 2 |
Fall, Bilal |
L'action dans le cinéma africain: le Sénégal |
1987 |
Francophone |
Paris 4 |
Farchy, Joëlle |
Le cinéma français sous influence de la concurrence audiovisuelle: la différentiation des produits cinématographiques |
1990 |
industry |
Paris 1 |
Feldman, Ellen |
The character-centered narrative: a comparative study of three films structured according to the organizing perspective of a single character |
1981 |
Bresson |
New York |
Fernandez, Manuel |
Analyse sémio-linguistique d'un discours de presse: la critique cinématographique |
1992 |
industry |
Paris 13 |
Fiant, Antony |
Otar Iosseliani: tel un demiurge à la surface du film |
2000 |
Iosseliani |
Caen |
Fischer, Lucy |
'Homo ludens': an analysis of four films by Jacques Tati |
1978 |
Tati |
New York |
Flitterman, Sandra |
Women, representation and CINÉMAtic discourse: the example of French CINÉMA |
1982 |
Dulac, M Epstein, Varda |
California , Berkeley |
Foery, Raymond |
Images that move: the pioneering work of Louis Lumière |
1997 |
Lumière |
Columbia |
Forest , Claude |
Le dernier siècle des exploitants français de théâtres cinématographiques |
1995 |
|
Paris 1 |
Fouassier, Christophe |
La création cinématographique française et son droit 1895-1995: l'évolution de l'appréhension juridique d'une activité artistique de sa naissance à sa maturité |
1999 |
industry |
Paris 1 |
Fox, Darryl |
Dual-register CINÉMA: an analysis of aural and visual registers in modern European film |
1984 |
Straub/Huillet |
Wisconsin , Madison |
Frank, Susan |
Un chien andalou and L'Age d'or : the collaborations of Salvador Dalí and Luis Buñuel |
1996 |
Buñuel |
Iowa |
French, Christopher |
Creative plagiarism: Jean Renoir and the art of adaptation |
1991 |
Renoir |
Indiana |
|
|
|
|
|
Gabara, Rachel |
Je de miroirs: French and francophone autobiography from split to screened selves |
2000 |
Francophone |
Michigan |
Gardies, André |
L'espace dans la narration filmique: l'exemple du cinéma d'Afrique noire francophone |
1987 |
Francophone |
Paris 8 |
Garneau, Michèle |
Pour une esthétique du cinéma québecois |
1998 |
Quebec |
Montreal |
Gauthier, Christophe |
La passion du cinéma. Cinéphiles, ciné-clubs et salles spécialisées, de 1920 à 1928 |
1997 |
|
Chartes |
Geloin, Ghislaine |
La pratique du livre: intertextualité dans le jeune cinéma |
1981 |
Godard, Truffaut, Resnais |
Illinois , Urbana-Champaign |
Gentile, Mary |
Reel alternatives: feminist film theory and practice |
1983 |
Bazin Lacan, |
New York , Buffalo |
Germain, B ernard |
Documentaires, spectateurs et institutions: lectures du réel au cinéma et à la télévision |
1998 |
documentary |
Paris 3 |
Ghali, Noureddine |
L'"avant-garde" cinématographique en France durant les années 20: idées, conceptions, théories |
1989 |
|
Paris 1 |
Ghose, Sumit |
Treatment of women in the CINÉMA of Jean Renoir |
1997 |
Renoir |
Ohio State |
Gilcher, William |
Jean Renoir in America : a critical analysis of his major films from Swamp Water to The River |
1979 |
|
Iowa |
Gimello-Mesplomb, Frédéric |
Enjeux et stratégies de la politique de soutien au cinéma français : un exemple, la Nouvelle Vague, économie politique et symboles |
2000 |
industry |
Toulouse 2 |
Girre, Ronan |
Le financment de la production cinématographique et audiovisuelle |
1988 |
industry |
Paris 1 |
Giukin, Lenuta |
From Surrealist film to Surrealism in film |
2002 |
Buñuel, Kaplan, Delvaux |
Illinois , Urbana-Champaign |
Godebarge, Jean-Pierre |
Straub-films ou la musicalité filmique |
1993 |
Straub |
Paris 3 |
Godier, Rose |
L'automate et le cinéma, dans La Règle du Jeu de Jean Renoir, Le Limier de Jospeh L Mankiewicz et Pickpocket de Robert Bresson |
1999 |
Renoir, Bresson |
Paris 3 |
Gogo, Koffi |
Les extérieurs naturels dans le cinéma français des années 30: de l'impressionnisme au réalisme poétique |
1997 |
Poetic Realism |
Paris 1 |
Goldman, Melissa |
Realism, deception, illusion: understanding CINÉMA in the Belle Epoque |
1998 |
Silent |
Stanford |
Gollub, Judith |
Nouveau roman et nouveau cinéma |
1966 |
|
California , LA |
Gorbman, Claudia |
Film music: narrative functions in French films |
1978 |
music |
Washington |
Gorce, Jean-Paul |
Sens et fonction d'un cinéma d'auteurs: les nouveaux cinéastes français 1958-1977 |
1983 |
Nouvelle Vague |
Toulouse 2 |
Goudet, Stéphane |
La circulation des corps et des idées dans l'ouvre de Jacques Tati autour de Playtime |
2000 |
Tati |
Paris 3 |
Gozillon-Fronsacq, Odile |
Stratégies cinématographiques en Alsace 1896-1939 |
1998 |
regional |
Strasbourg 2 |
Grindon, Leger |
The representation of history in the fiction film |
1986 |
Renoir |
New York |
Grisolia, Raul |
Les rapports entre cinéma et peinture dans les films de Luis Buñuel |
1999 |
Buñuel |
Aix-Marseille 1 |
Guillaume-Grimaud, Geneviève |
Le c inéma français à l'époque du Front populaire: essai d'analyse d'une conjoncture économique et d'une sensibilité populaire à travers le cinéma |
1973 |
Front populaire |
Aix |
Gurrieri , Georgia |
New Waves: literature and CINÉMA in postwar Paris |
1992 |
Nouvelle Vague |
Iowa |
|
|
|
|
|
Habib, Andre |
Origin and death: method(s): in and around Jean-Luc Godard's Histoire(s) du cinéma |
2002 |
Godard |
Concordia |
Hadjadj, Belkacem |
Tradition orale et images en Algérie |
1987 |
Francophone |
Paris 10 |
Hanaï, Brahim |
Les marques de théâtralité dans l'écriture filmique de Marguerite Duras |
1993 |
Duras |
Paris 8 |
Hanlon, Lindley |
Narrative structure in the later films of Robert Bresson |
1977 |
Bresson |
New York |
Hastie, Amelie |
Recollecting histories: women, writing and film |
1999 |
Guy |
Wisconsin-Milwaukie |
Havot, Christophe |
Robert Bresson : le chemin vers la grâce ou comment filmer l'indicible |
1992 |
Bresson |
Toulouse 2 |
Henneton, Mireille |
Le cinéma de Jean Genet: pour une réflexion sur la participation du scénario à la mise en scène |
2000 |
Genet |
Paris 4 |
Herpe, Noël |
Le cinéma dans le texte: l'ouvre écrite de René Clair |
1999 |
Clair |
Paris 1 |
Heurtaud-Wright, Marie-Hélène |
Masculinity, hybridity and nostalgia in French colonial fiction films of the 1930s |
2000 |
colonial |
Loughborough |
Heysel, Garett |
Viewing things differently: specularized desire and the avant-garde body |
1997 |
Gay, Cocteau Dulac, J Epstein |
Ohio State |
Higbee, William |
Marginality and ethnicity in French CINÉMA of the 1980s and 1990s |
2001 |
Beur |
Exeter |
Hirsch, Joshua |
Afterimage: film, trauma, and the Holocaust |
2001 |
Resnais, Lanzmann |
California , LA |
Horn, Heather |
Origins, identity, home: sites of subjectivity and displaced narratives in Marguerite Duras and Wim Wenders |
1998 |
Duras |
Wisconsin , Madison |
Hubert Lacombe, Patricia |
Etudes sur le cinéma français de 1946 à 1956: la guerre froide et le cinéma français |
1981 |
Decoin |
Institut d'Etudes Politiques |
Hull, Stephanie |
The representation of 18c French literature, culture and society in film |
1992 |
|
Harvard |
Humbert, Brigitte |
Du roman épistolaire au film: le transfert du role de la lettre dans les adaptations des Liaisons dangereuses |
1995 |
Vadim |
Nebraska , Lincoln |
Hunt, Jamer |
Absence to presence: the life history of Sylvia (Bataille) Lacan |
1995 |
Sylvia Bataille |
Rice |
|
|
|
|
|
Ionascu, Michel |
Cheminots argentiques: l'image d'un groupe social dans le cinéma et l'audiovisuel français |
1999 |
Renoir, Clément |
Paris 3 |
Ishagpour, Youssef |
Une caméra visible: contribution aux problèmes de la représentation au cinéma |
1998 |
|
Paris 3 |
|
|
|
|
|
Jacquot, Martine |
Le regard dans l'ouvre de Marguerite Duras |
1994 |
Duras |
Dalhousie |
Janin, Nicole |
Du générique au mot fin: le paratexte dans les ouvres de François Truffaut at de Jean-Luc Godard 1958-1984 |
1989 |
Godard, Truffaut |
Lyon 2 |
JARDONNET, EVELYNE |
POETIQUE DE LA SINGULARITE AU CINEMA : L'EXEMPLE DE JACQUES RIVETTE ET DE MAURICE PIALAT |
2003 |
RIVETTE, PIALAT |
PARIS 10 |
Jenn, Pierre |
Le montage cinématographique dans l'ouvre de Georges Méliès |
1983 |
Méliès |
Paris 1 |
Jeudy, Olivier |
L'analyse de film et l'interprétation des mythes grecs |
1999 |
|
Paris 1 |
Ji, Myung-Hyok |
Robert Bresson ou la naissance d'une poétique |
1994 |
Bresson |
Paris 1 |
Johnson, Catherine |
Symbolist transformation: the shift from stage to screen in France |
2000 |
Dulac, L'Herbier, Gance, Cocteau |
Georgia |
Joshi, Sonali |
Jean-Pierre LÉaud |
2004 |
LEAUD |
Glasgow |
Jouve, Sabine |
La nature juridique du contrat de coproduction de l'ouvre audiovisuelle en droit français |
2000 |
industry |
Aix-Marseille 3 |
Jullier, Laurent |
Le bruit au cinéma |
1994 |
sound |
Paris 3 |
|
|
|
|
|
Katz, David |
The search for CINÉMA: a history of ontological CINÉMA theory from 1900-1960 |
1986 |
Bazin |
Wisconsin , Madison |
Keathley, Christian |
The wind in the trees: cinephilia, panoramic perception, and history |
2000 |
Bazin |
Iowa |
Kim, Geon |
Sur la relation distanciée entre le film et son spectateur chez Jean-Luc Godard , jusqu'à 1979: d'après la théorie théâtrale de Bertold Brecht |
2002 |
Godard |
Paris 1 |
Kim, Joon-Deok |
Intervention et rôle de l'État dans la vie cinématographique française, compte tenu de son renouvellement depuis 1981 |
1997 |
industry |
Paris 1 |
Kim, Seong-Tae |
Le cinéma de Jean-Luc Godard, l'image et l'histoire: une étude chronologique |
1999 |
Godard |
Paris 3 |
Kosmicki, Anne-Marie |
A la recherche d'une identité culturelle à travers le film policier français des années cinquante |
1996 |
US/Fr |
Paris 3 |
Kralovec, Clarice |
The hidden God in French literature and CINÉMA: from the Classical Age to the 20c |
2002 |
Bresson |
Boston |
Kupersmidt, Jane |
Figuring reticence |
1993 |
Bresson |
City New York |
|
|
|
|
|
Langlois, Suzanne |
La Résistance dans le cinéma français de fiction 1944-1994 |
1997 |
Resistance |
McGill |
Latham, J. |
En route vers la terre promise: the radical film making of Alain Tanner |
1986 |
Tanner |
Stirling |
Latham, Karen |
Le temps retrouvé: memory and revision of WW2 in French and Italian film |
1997 |
Ophuls, Truffaut, Malle, Resnais |
Iowa |
Laurichesse, Hélène |
Marketing cinématographique et attitude des spectateurs envers la promotion des films à la télévision |
1998 |
industry |
Toulouse 2 |
Laverger, Cyril |
La société dans le cinéma français de 1975 à 1985: approche sociologique des données filmiques |
1999 |
social |
Paris 1 |
Lazen, Matthew |
The desert and the promised land: postmodern French regionalism1960-1992 |
1998 |
regional |
Duke |
Le Forestier, Laurent |
L'industrialisation du mode de production des films Pathé 1905-1908 |
2000 |
industry |
Paris 3 |
Le Roy, Eric |
Camille de Morlhon, homme de cinéma: une biographie 1869-1952 |
1995 |
Morlhon |
Paris 3 |
Leahy, Sarah |
Female French Film Stars of the 1950s as Icons of French Womanhood |
2003 |
STARS |
Exeter |
Leandro, Anita |
Le personnage mythique au cinéma: etude des repr é sentations de Carmen |
1998 |
Carmen |
Paris 3 |
LEE, JEONG-HA |
LA NOTION D'INTERVALLE DANS LE CINEMA DE JEAN-LUC GODARD |
2003 |
GODARD |
eHESS |
Lefebvre, Thierry |
Cinéma et discourse hygiéniste 1890-1930 |
1997 |
social |
Paris 3 |
Lelièvre, Samuel |
Le cinéma paradoxal de Souleymane Cissé: une approche de l'altérité du film africain |
1999 |
Cissé |
Strasbourg 2 |
Lellis, George |
From formalism to Brecht: the development of a political and aesthetic sensibility in Cahiers du cinéma |
1976 |
Cahiers du cinéma |
Texas , Austin |
Leontaris, Ioannis |
Non-dit et négativité dans le récit écrit et le récit filmique (Angelopoulos, Godard, Valtinos, Duras, Tornes) |
1997 |
Godard, Varda |
Paris 10 |
Lesage, Julia |
The films of Jean-Luc Godard and their use of Brechtian dramatic theory |
1976 |
Godard |
Indiana |
Lev, Peter |
Claude Lelouch, film director |
1980 |
Lelouch |
California , LA |
Levitin, Jacqueline |
Jean-Luc Godard: aesthetics as revolution |
1975 |
Godard |
New York , Buffalo |
Lewis, Brian |
Jean Mitry and problems in film theory |
1980 |
Mitry |
Iowa |
Liebman, Stuart |
Jean Epstein's early film theory, 1920-1922 |
1980 |
J Epstein |
New York |
Lindeperg, Sylvie |
Images de la seconde guerre mondiale dans le cinéma français 1944-1969: les usages cinématographiques du passé |
1993 |
|
Institut d'Etudes Politiques |
Liogier, Hélène |
Le cinéma français en Espagne 1939-1975 |
1998 |
industry |
Grenoble 2 |
Lipkin, Steven |
The film criticism of François Truffaut: a contextual analysis |
1977 |
Truffaut |
Iowa |
Liu, Yunzhou |
Le plaisir de filmer ou la naissance d'un récit: Le charme discret de la bourgeoisie de Luis Buñuel |
1988 |
Buñuel |
Paris 1 |
Lokai, Deborah |
Language acquisition and socialization in three works based on the stories of Kaspar Hauser and the wild child of Aveyron |
1993 |
Truffaut |
Wayne State |
Lopez Puebla , Luis |
L'inconscient et la création artistique, ou comment des myths et symboles archaiques font surface dans l'ouvre cinématographique d'un cinéaste moderne: Raul Ruiz |
1998 |
Ruiz |
Paris 3 |
Lowry, Edward |
Filmology: establishing a problematic for film study in France 1946-1955 |
1982 |
Cohen-Séat |
Texas , Austin |
Lowy, Vincent, |
La conférence de Munich à l'écran |
2000 |
|
Nancy 2 |
Lu, Shenghui |
Du littéraire au cinématographique : transformation et réception du texte par le film |
1995 |
Bresson |
Paris 8 |
Lynn, G |
Beyond denotation: contemporary French CINÉMA and AIDS |
2001 |
social |
Sheffield |
|
|
|
|
|
Machado, José |
La traduction au cinéma et le processus de sous-titrage de films |
1997 |
sub-titling |
Paris 3 |
Machefer, Danièle |
Deux aspects de la traduction au cinéma: sous-titrage et doublage |
1988 |
sub-titling |
Paris 8 |
Maestre, Christian |
Analyse architecturale de Lumière d'été de Jean Grémillon : proposition d'une méthode d'analyse filmique |
1995 |
Grémillon |
Toulouse 2 |
Magness-Eubank, Karen |
Behind the veil: revisioning the gaze in theatre and film |
2001 |
Lacan |
Texas Tech University |
Magnier, Vincent |
Faust à l'écran |
2000 |
Faust |
Paris 4 |
Mahé de La Villeglé, Valérie |
Une approche économique du rôle du scénario dans le cinéma français depuis 1970 |
1986 |
script |
Paris 1 |
Manenti, Paul |
Image de l'artisan dans le cinéma documentaire français des origines à 1960 |
2002 |
documentary |
Paris 3 |
Marchand, François |
L'Atlantide: itinéraire d'un mythe dans la production audiovisuelle |
1997 |
|
Toulouse-Le Mirail |
Marciano, Emma |
Polyphonic screens: Dostoevsky on film |
1998 |
Bresson |
New York |
Margulies, Ivone |
'Nothing happens': Chantal Akerman's hyperrealist everyday |
1993 |
Akerman |
New York |
Mari, Jean-Claude |
Une nouvelle esthétique sonore/musicale dans le cinéma moderne: Michel Fano et l'avènement du filmusique |
1997 |
music |
Paris 8 |
Marie, Laurent |
The French Communist Party and French CINÉMA 1944-1999 |
2000 |
social |
Warwick |
Marker, Cynthia |
Defying the censor: resistance to the Algerian War in French literature and CINÉMA |
1996 |
Resnais, Marker |
Michigan |
Mathe Gaston, Catherine |
Mythes et réalité de l'après-guerre dans le cinéma français |
1994 |
WW2 |
Paris 4 |
Matich, Rosemary |
Functional criticism: CINÉMAtic space/time theory and phenomenology |
1989 |
Godard |
Northwestern |
Maule, Rosanna |
The practice of embalming CINÉMA: film authorship in contemporary France , Italy , and Spain |
2000 |
industry |
Iowa |
Maumon, Emmanuel |
Une industrie à la recherche de son équilibre: le cinéma français |
1983 |
industry |
Nice |
Mazdon, Lucy |
Translation and nation: Hollywood remakes of French films 1980-1996 |
1996 |
US/Fr |
Southampton |
Mbolle, Henriette |
Paroles, cinémas et modernités: une approche socio-politique et sémio-narratologique de la modernité au cinéma. Le cinéma durassien du vide et le cinéma africain francophone |
1998 |
Duras, Francophone |
Nancy 2 |
McCann, Ben |
Spatial configurations, set design and the architectonics of 1930s French Poetic realist CINÉMA |
2003 |
Poetic Realism |
Bristol |
McCavana, Garth |
Stage-screen-stage: an analysis of the interplay between theatre and CINÉMA in the works of Marcel Pagnol and Jean Anouilh |
1990 |
Pagnol |
Harvard |
McMahan, Alison |
'Madame a des envies': a critical analysis of the short films of Alice Guy Blaché, the first woman filmmaker |
1997 |
Guy |
Union Institute |
Ménager, Gabriel, |
Un exemple de publications spécialisées: la presse à destination des cinéastes amateurs |
1996 |
|
Paris 3 |
Mentz, Catherine |
Le registre public de la cinématographie en droit français |
1984 |
industry |
Paris 2 |
Moine, Raphaëlle |
Représentations et fonctions des repas dans le cinéma européen de fiction des années 30 aux années 80 |
1994 |
social |
Ecole Pratique des Hautes Etudes |
Molinier, Philippe |
Topographies réelles et imaginaires dans les séries cinématographiques d'Eric Rohmer |
1999 |
Rohmer |
Paris 7 |
Monchal, Maïtë |
Le sacerdoce de la désobéissance: creation et sexualité chez Jean Cocteau, suivi d'un entretien inédit avec Jean Marais |
1994 |
Gay, Cocteau, Marais |
Arizona |
Montagne, Albert |
Les interdits cinématographiques en France 1909-1999: aspects historiques, juridiques, économiques et politiques |
1999 |
industry |
Montpellier 3 |
Montebello , Fabrice |
Spectacle cinématographique et classe ouvrière: Longwy 1944-1960 |
1997 |
social |
Lyon 2 |
Moore, Rachel |
Savage theory: CINÉMA as modern magic |
1997 |
J Epstein, Bazin |
New York |
Moris, Jean François |
Portrait filmique d'un artisan paysan des Vosges saônoises |
1988 |
regional |
Paris 10 |
Morrey, Douglas |
Jean-Luc Godard's Histoire(s) du cinéma |
2002 |
Godard |
Warwick |
Mottet, Annie |
Martin du Gard, Renoir, Lang et La bête humaine : la fabrique d'une adaptation |
1994 |
Renoir |
Paris 1 |
Mouellic, Gilles |
Jazz et cinéma: convergences esthétiques |
1999 |
music |
Rennes 2 |
Mouren, Yannick |
L'art du récit chez François Truffaut : essai de narratologie appliquée à quelques films de Truffaut |
1990 |
Truffaut |
Paris 1 |
Murray, Alison |
Framing greater France : images of Africa in French documentary film 1920-1940 |
1998 |
colonial |
Virginia |
|
|
|
|
|
Naumann, Claude |
Le système des personnages dans les films de Jacques Becker |
1996 |
Becker |
Nancy 2 |
|
|
|
|
|
O'Brien, Charles |
CINÉMA and historical culture of the Third French Republic |
1992 |
Gance, Dreyer, De Gastyne, Renoir |
Iowa |
Okore, Ode |
The film world of Ousmane Sembene |
1982 |
Sembene |
Columbia |
O'Leary, Brian |
Michel Colin's generative semiology: a post-Metzian phase of linguistics in film theory |
1999 |
Colin |
Texas , Dallas |
Olmeta, Patrick |
Les cinémathèques: le patrimoine cinématographique en France 1898-1993 |
1995 |
industry |
Nice |
Oscherwitz, Dayna |
Representing the nation: CINÉMA, literature and the struggle for national identity in contemporary France |
2001 |
social |
Texas , Austin |
Ostrowska, Dorota |
A comparative history of the critical discourses of the Nouvelle Vague and the nouveau roman 1950-1967 |
2003 |
Nouvelle Vague |
Cambridge , UK |
Ousselin, Edward |
Comment peut-on être européen ? Conceptions of Europe in French literature and film |
1999 |
Renoir |
Ohio State |
|
|
|
|
|
Pachot, Christine |
Le cinéma des années 30 et la culture télévisuelle à l'ère de l'an 2000: de l'efficience culturelle de la television, fiction ou réalité ? |
1997 |
|
Grenoble 2 |
Pages, Marie-Christine |
Cinéma et enonciation: la voix durassienne |
1991 |
Duras |
California , Berkeley |
Pagliano Jean-Pierre |
Brunius en marge du cinéma français |
1979 |
Brunius |
Paris 1 |
Papaioannou, Panagiota |
Francophone African CINÉMA: 'reel'fiction and the postcolonial screen |
2002 |
Francophone |
Rochester |
Patras, Robert |
Jean Renoir des années 30 ou l'engagement par l'art |
1986 |
Renoir |
Aix-Marseille 1 |
Pellerin, Jérôme |
L'Odyssée: les avatars d'un mythe au cinéma |
2001 |
|
Paris 10 |
Penley, Constance |
The rhetoric of the photograph in film theory |
1983 |
Bazin, Metz |
California , Berkeley |
Perrin, Maryse |
Les romans du 18e siècle français devant les caméras: la lecture des cinéastes et des réalisateurs de télévision |
1988 |
adaptation |
Paris 4 |
Pertus, Chantal |
Cinéma politique: panorama du cinéma français actuel |
1974 |
|
Montpellier 3 |
Peyrusse, Claudette |
Le phénomène méridional dans le cinéma français 1929-1944 |
1982 |
Pagnol |
Paris 1 |
Philibert, Céline |
French postmodern CINÉMA: desire in question |
1992 |
Varda, Beineix, Denis |
Ohio State |
Philippe, Olivier |
La représentation de la police dans le cinéma en France 1965-1992 |
1993 |
social |
Toulouse 1 |
Phillips, Alistair |
City of Darkness , City of Light : the representation of Paris in the 1930s French films of the German émigrés |
1998 |
social |
Warwick |
Pipolo, Anthony |
Carl Dreyer's La Passion de Jeanne d'Arc : a comparison of prints and a formal analysis |
1981 |
Dreyer |
New York |
Portgues, Catherine |
CINÉMA and psyche: a psychoanalytic view of the representation of women in three French film directors of the 1960s |
1982 |
Godard, Truffaut Resnais, |
California , LA |
Porton, Richard |
Film and the anarchist imagination |
1996 |
Vigo , Godard, Clair |
New York |
Pravadelli, Veronica |
Performance, rewriting, identity: Chantal Akerman's postmodern CINÉMA |
1999 |
Akerman |
Indiana |
Presnell, Michael |
Sign, image and desire: semiotic phenomenology and the film image |
1983 |
Metz |
S Illinois , Carbondale |
Provencher, Denis |
Masq(masc)ulinities: contemporary representations of gay male identities in French popular fiction, press and film |
1998 |
Gay |
Pennsylvania State |
Provost, Nathalie |
L'interaction du réel et de l'imaginaire dans le cinéma d'Alain Resnais |
1999 |
Resnais |
Paris 1 |
Provoyeur, Jean-Louis |
Le cinéma de Robert Bresson : du récit au sublime |
2001 |
Bresson |
Paris 7 |
Puaux, Françoise |
L'ordre et la loi dans l'ouvre de Robert Bresson |
1990 |
Bresson |
Paris 3 |
|
|
|
|
|
Quentrec, Jacky |
Théories du cinéma: une histoire du savoir cinématographique 1907-1962 |
1987 |
|
Paris 8 |
|
|
|
|
|
Raad, Walid |
Beirut (à la folie): a cultural analysis of the abduction of westerners in Lebanon in the 1980s |
1996 |
Baghdadi |
Rochester |
Ragel, Philippe |
Le trait d'union: Jean-Luc Godard de Sauve qui peut (la vie) à Je vous salue Marie |
1992 |
Godard |
Toulouse 2 |
Raynauld, Isabelle |
Le scénario de film comme texte: histoire, théorie et lecture(s) du scénario, de Georges Méliès à Marguerite Duras et Jean-Luc Godard |
1990 |
Méliès, Duras, Godard |
Paris 7 |
Reisinger, Deborah Streifford |
French literary and CINÉMAtic response to the contemporary fait divers : discursive struggles and resistance |
2001 |
Denis |
N Carolina , Chapel Hill |
Rejda, Roger |
Surrealism and Buñuel's The Discreet Charm of the Bourgeoisie |
1981 |
Buñuel |
Nebraska , Lincoln |
Reynolds, Sylvie |
The assessment of mentalité : an ethnomethodological analysis of films in cross-cultural perspective |
1988 |
US/Fr, Renoir Godard, Truffaut |
California School of Professional Psychology (Berkeley, Almeda) |
Roberts, James |
Shadow zones: the rhetoric of CINÉMAtic affect |
1999 |
Metz , Bazin |
Pennsylvania State |
Roger, Philippe |
Max Ophuls, un cinéaste exilé en France 1933-1941 |
1989 |
Ophuls |
Lyon 2 |
Romanczuk, Barbara Lynn |
Screening Zola's women |
2002 |
|
Ohio State |
Rondepierre, Eric |
Marguerite Duras: une esthétique de l'indifférence |
1988 |
Duras |
Paris 1 |
Rouyer, Philippe |
L'évolution de la technique cinématographique et l'émergence de la micrographie en France et aux Etats-Unis |
1999 |
industry |
Paris 3 |
Russell, Sharon |
Semiotics and lighting: a study of six modern French cameramen |
1977 |
industry |
Northwestern |
|
|
|
|
|
Saito, Ayako |
Affect incorporated: melancholy, CINÉMA, and psychoanalysis |
1999 |
Bazin, Lacan, Ophuls, Akerma |
California , LA |
Sanier, Max |
Le cinéma comme champ de production culturelle: analyse socio-économique du cinéma français 1970-1980 |
1992 |
industry |
Lyon 2 |
Sapiega, Jacques |
Regard(s) documentaires(s) à la television et dans le cinéma français et stratégies du souvenir: la matrice des années 1939-1945 |
2000 |
documentary |
Aix-Marseilles 1 |
Scatton-Tessier, Michelle |
Women and the semi-public sphere: studies in postwar French literature and film |
2001 |
social, Tati Godard, Varda |
Iowa |
Schoellkopf, Anouk |
Jean-Luc Godard, philosophe du langage : le cinéma comme passage entre éclosion de l'invisible et expression de l'indicible |
2001 |
Godard |
Strasbourg 2 |
Schroder, Erin |
Banlieue CINÉMA: urban cultures in contemporary France |
1999 |
Bouchaala, Dridi, Gilou, Kassovitz |
Rochester |
Scotto d'Ardino, Laurent |
La revue Cinéma 1936-1943 |
1998 |
Cinéma |
Paris 8 |
SEBBAH, ALAIN |
L'écran Séducteur ou le personnage du libertin et son adaptation à l'écran dans le cinéma européen des années 1960 aux années 1990 |
1999 |
|
BORDEAUX 3 |
Selig, Michael |
On language/on film: deconstructing the CINÉMA |
1983 |
Bazin |
Northwestern |
Sellier, Geneviève |
Les films de Jean Grémillon: essai d'analyse narratologique |
1987 |
Grémillon |
Paris 3 |
Semarne, Veda |
Industry and invention: the Lumière CINÉMAtograph and the origins of film 1895-1904 |
1987 |
Lumière |
Yale |
Shafto, Sally |
Ut pictura CINÉMA: The strange adventure of Jean-Luc Godard |
2000 |
Godard |
Iowa |
Simmons, Steven |
'Modernisms'in film: essays on Jean-Luc Godard |
1982 |
Godard |
Stanford |
Simon, William |
The films of Jean Vigo |
1973 |
Vigo |
New York |
Simonetti, Marie-Claire |
Portrait of an artist through the Canadian lens: a national CINÉMA's search for an elusive cultural identity |
1995 |
Arcand, Beaudin, Mankiewicz |
Wayne State |
Smith, Alison |
The influence of May 1968 on French commercial CINÉMA in the 1970s |
1993 |
1970s |
Reading |
Smith, Sylvia |
Religion in Ousmane Sembene's novels and films |
1992 |
Sembene |
Brown |
Sojcher, Frédéric |
Le cinéma belge et l'Europe: institutions et identités culturelles |
1996 |
Francophone |
Paris 1 |
Solomon, Matthew |
Stage magic and the silent CINÉMA: Méliès, Houdini, Browning |
2001 |
Méliès Berliner |
California , LA |
Sorin, Cécile |
Assimilation du cinéma de genre hollywoodien en France et en Italie après 1945: étude appliquée au western et au film noir |
2001 |
|
Paris 8 |
Stange, Karl |
Identification in film theory |
1984 |
Metz , Baudry, Bellour |
Northwestern |
Steinberg , Victoria |
The primitive mirror and the films of Jean Cocteau |
1994 |
Cocteau |
Ohio State |
Strachan, Fiona |
Lectures de Providence (1976) d'Alain Resnais et approches de l'iintertextualité |
1987 |
Resnais |
Strasbourg 2 |
Strebel, Elizabeth |
French social CINÉMA of the 1930s: a CINÉMAtographic expression of popular consciousness |
1974 |
Front populaire |
Princeton |
Sultze, Kimberly |
Looking for the universal, looking for the cultural: a critical analysis of the debate between the universalist and relativist perspectives on moving images |
2001 |
Metz |
New York |
Swamy, Vinay |
Identification clusters in Francophone and Anglophone novels and films |
2002 |
Malle, Téchiné, Balasko, |
Northwestern |
Swenson, Sharon |
The CINÉMAtic chronotope and four European art films: untying the knots of time and space |
1993 |
Resnais, Marker |
Utah |
|
|
|
|
|
Tajuelo, Telesforo |
Censure et société: un siècle d'interdit cinématographique au Québec |
1998 |
Quebec |
Paris 3 |
Taranger, Marie-Claude |
Luis Buñuel : le jeu et la loi |
1987 |
Buñuel |
Lille 3 |
Tcheuyap, Alexie |
Entre films romans: des réecritures textuelles en Afrique Francophone |
2001 |
Francophone |
Queen, Kingston ( Canada ) |
Thévenin, Olivier |
Cinéma, art et société: une socio-anthropologie du cinéma à propos de Jean-Luc Godard 1959-1967 |
1998 |
Godard |
Besançon |
Thiers, Valerie |
'A chacun son griot': the myth of the narrator-griot in West-African literature and CINÉMA |
2000 |
Francophone |
New York |
Tomlinson, Doug |
Studies in the use and visualization of film performance: Alfred Hitchcock, Robert Bresson, Jean Renoir |
1986 |
Bresson, Renoir, Truffaut |
New York |
Torner, CARLES |
Regarder l'extrême: une pédagogie de la mémoire de la Shoah à partir du film de Claude Lanzmann |
2000 |
Lanzmann |
Paris 8 |
Tregouet, Annie |
Cinéma français et culture populaire: l'adaptation de textes mélodramatiques |
2000 |
Feuillade, Dulac, Grémillon, Chabrol, Lelouch |
Colorado , Boulder |
Tschofen, Monique |
Anagrams of the body: hybrid texts and the question of postmodernism in the literature and film of Canada |
1999 |
Quebec , Lauzon, Aquin |
Alberta |
Tucker, Thomas |
Erasing time: a deconstruction of temporality in the CINÉMA |
2001 |
Bresson |
Florida State |
Tulloch, Elspeth |
The transmutation of feminist critique from novel to film: the case of Les Fous de Bassan |
2000 |
Simoneau |
Sherbrooke ( Canada ) |
Turner, Dennis |
Made in USA : transformation of genre in the films of François Truffaut and Jean-Luc Godard |
1981 |
|
Indiana |
Turvey, Malcolm |
The enchanted camera: modernist skepticism and visual redemption in classical film theory |
2002 |
J Epstein |
New York |
|
|
|
|
|
Ulff-Möller, Jens |
The 'film wars'between France and the USA : film-trade diplomacy and the emergence of the film quota system in France 1920-1939 |
1998 |
US/Fr |
Brandeis |
|
|
|
|
|
Valat, Zoé |
Carriers du Gard et de Syrie: une étude d'anthropologie filmique sur l'exploitation de la pierre |
1998 |
|
Paris 10 |
Van Cauwenberge, Genevieve |
Chris Marker and French documentary filmmaking 1962-1982 |
1992 |
documentary, Marker |
New York |
Vareille, Jean-Claude |
Alain Robbe-Grillet: une pratique de l'ambivalence |
1978 |
Robbe-Grillet |
Paris 10 |
Vaslet, Olivier |
Le système de défense d'intérêts des organisations professionnelles patronales du cinéma français sous la 5e République |
2002 |
industry |
Toulouse 2 |
Vassé, Claire |
La parole dans le cinéma français : un enjeu de la modernité |
2002 |
Nouvelle Vague |
Paris 3 |
Véray, Laurent |
Les actualités cinématographiques françaises 1914-1918: pour une culture (visuelle) de guerre |
1994 |
documentary |
Paris 3 |
Vialles, Catherine |
Jean Renoir : l'expérience américaine 1940-1948 |
2001 |
Renoir |
Paris 8 |
Vignaux, Valérie |
Le temps à l'ouvre dans les films de Jacques Becker |
1994 |
Becker |
Paris 1 |
Vilavella, Helene |
Le cinéma dégénéré: Max Ophuls 1950-1957 |
1996 |
Ophuls |
Washington |
Vincendeau, Ginette |
French CINÉMA in the 1930s: social text and context of a popular entertainment medium |
1985 |
1930s |
East Anglia |
Virmaux, Alain |
La tentation du cinéma chez les écrivains français: l'aventure du scénario |
1972 |
script |
Paris 4 |
Viry-Babel, Roger |
Les images de la femme dans l'ouvre de Jean Renoir |
1988 |
Renoir |
Nancy 2 |
Vu, Xuân Doàn |
Le doublage des films français en vietnamien: problèmes linguistiques et traductologiques |
1998 |
dubbing |
Lyon 2 |
|
|
|
|
|
Walker, Deborah |
Auto-réflexivité et construction de la subjectivité dans le cinéma français contemporain |
2001 |
Resnais |
Paris 8 |
Walsh-Harrington, Geraldine |
The function of the incidental song in contemporary French and Belgian CINÉMA |
1999 |
song |
Sheffield |
Weigl, Mélanie |
Les mécanismes européens de soutien au cinéma |
2000 |
industry |
Paris 1 |
Wharton, Steven |
'Au service du Maréchal?': French documentary under German occupation |
1991 |
documentary |
Aston |
White, Miriam |
An extra body of reference: history in CINÉMAtic narrative |
1981 |
Resnais, Allio |
Iowa |
Wild, Florianne |
Formes fatales: the naturalism of Zola, the Poetic realism of Renoir, and American film noir |
1992 |
Renoir |
Minnesota |
WILES, MARY |
Theatricality and French Cinema: The Films of Jacques Rivette |
2002 |
Rivette |
fLORIDA |
Wolf, Joan |
Negotiating meaning: narrative politics and memories of the Holocaust in France |
1997 |
Ophuls |
Chicago |
Wunder, Tracy |
Mirrors and masochism: manipulation of authenticity in Francois Truffaut's films |
2000 |
Truffaut |
Boston |
|
|
|
|
|
Yervasi, Carina |
Women in images: shifting structures and discourses in French-language CINÉMA after May 1968 |
1995 |
Akerman, Duras, Godard, Rivette, Robbe-Grillet, Tanner, Varda |
New York City |
|
|
|
|
|
Zaakour, Abdellah |
Le discours cinématographique chez Jean Renoir à travers La Régle du jeu |
1993 |
Renoir |
Toulouse 2 |
Zagury, Fabrice |
Les métamorphoses du son dans le cinéma de Luis Buñuel |
1999 |
Buñuel, sound |
Paris 3 |
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