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Dissertations / Theses on the topic 'French cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gache, Sherry L. "The Cinema Podium: French Feminism and Early Twenty-First Century French Cinema." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/168.

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This dissertation is an attempt to understand how early twenty-first century French films (2000-2002) position themselves in relation to late twentieth century feminist public discourse in France. More specifically, this study will examine how cinematic narratives are modifiers of feminist debate. Four selected films are analyzed for this research: Catherine Breillat's Fat Girl (2002), Patrice Leconte's Girl on the Bridge (2000), Pascale Bailly's God is Great and I am not (2002), and Agnes Varda's The Gleaners and I (2001). The study focuses on how these four films illustrate the historical m

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2

Marie, Laurent. "The French Communist Party and French cinema 1944-1999." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/3061/.

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This dissertation examines the relationship between the French Communist Party (PCF) and French cinema between 1944 and 1999. The approach adopted is an historical and political one, exploring the context behind the changing relations between the Party and the film industry. Both institutions have played a crucial part in the weaving of the political and cultural fabric of the country throughout the period. For both the PCF and French cinema, the Liberation marked a new beginning and a new relationship with the French state. Looking closely at the French Communist outlets over four key periods

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3

Wimmer, Leïla. "The French reception of British cinema." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/2437/.

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French writings on British cinema have tended, and continue, to be dominated by one single figure. Director Francois Truffaut's famous dismissal of British cinema has become a standard reference. The systematic repetition of his critique has worked to produce an official story that has become emblematic of the French perspective on British cinema. Yet to date the subject has received little scholarly attention beyond Truffaut. This study documents in depth the French reception of British cinema in the post-war period and relies extensively on the use of archives and research into primary sourc

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4

Grandena, Florian. "Political fictions in contemporary French cinema." Thesis, Nottingham Trent University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429265.

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5

Philibert, Céline Lydia Germaine. "French postmodern cinema : desire in question /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487760357819381.

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6

Lynn, Gareth D. "Beyond detonation : contemporary French cinema and AIDS." Thesis, University of Sheffield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369969.

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7

King, Gemma. "Multilingualism and Power in Contemporary French Cinema." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA075.

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Le dialogue en langues autres que le français a figuré dans un petit nombre de films depuis la naissance du cinéma français. Cependant, l’usage de langues multiples pour (re)négocier les rapports de pouvoir devient un élément thématique et narratif important dans le cinéma contemporain. Dans ces films, la représentation du statut d’une gamme de langues autres que le français est en train d’évoluer. A travers l’apprentissage de la langue et le code-switching stratégique, les personnages obtiennent et exercent le pouvoir de manières novatrices. En exploitant leur connaissance d’une variété de la

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8

Climo, Jill Marian. "New negotiations in post-2000 French cinema." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3401/.

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This thesis addresses new trends in French cinema between 2000 and 2004, in films which have the common motif of a main, protagonist couple whose relationship has subversive potential and may indicate tension, instability, the process of change and transformations in post-2000 French society. The study shows how the chosen films contribute to the ongoing national debate about the following: what it means to speak and to ‘be’ French in post-2000 France, socially, culturally and in relation to how the nation defines itself; how the films project, dramatise and fantasise national identity; and fi

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9

Branlat, Jennifer Elise. "Paris, Female Stardom, and 1930s French Cinema." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345550540.

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10

Thompson, Jenna. "Dubbing the multilingual moment: Translating English-language American television shows with French into French." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28445.

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Multilingual films, such as Lost in Translation (2003), have recently become a phenomenon. Various popular television series also feature an element of multilingualism in their plots. This inclusion of the cultural "other" and its language, specifically, the dubbing into French of "French situations" in American television shows, presents an interesting challenge for audiovisual translation (AVT). In my study, I begin by discussing research on multilingualism in literature, film and television. I then discuss the relevance of translation studies concepts to AVT, and apply them in examining the

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11

Joshi, Sonali. "Jean-Pierre Léaud : star of the French cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/2688/.

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This study is intended to examine the star persona of French actor, Jean-Pierre Léaud. By inquiring into both the character on and off screen I have analysed the career and performances of an actor who has laid a significant mark on contemporary French cinema. Whilst Léaud’s nouvelle vague image has become an enduring symbol within French cinema, little is known about Léaud from written texts alone. Moreover, he has not been readily accepted as a star in the same way as many of his male contemporaries. Using star studies as a theoretical approach, I am exploring the various characters Léaud ha

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12

Leadston, Mackenzie M. "Theorizing the Comic Object in Classical French Cinema." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155498483572897.

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13

Dahlquist, Marina. "The invisible seen in French cinema before 1917 /." Stockholm, 2001. http://bibpurl.oclc.org/web/35172.

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14

Tarr, Carrie. "Articulating difference : gender, sexuality and ethnicity in French cinema." Thesis, Kingston University, 2004. http://eprints.kingston.ac.uk/20736/.

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This portfolio of published work consists of a selection of articles and book chapters representing the originality, breadth and coherence of my research into the ways in which gender, sexuality and ethnicity are mediated and articulated in French cinema. It is prefaced by an introductory section which discusses the unifying themes running through the work presented, placing it in the context of existing work within the field and also relating it to my research career to date. The portfolio opens with an early article on two white male-authored British films of the late 1950s/early 1960s, whic

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15

Hastie, Alexander. "Postcolonial popcorn : contemporary Maghrebi-French cinema and its audiences." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/21268/.

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This thesis is a study of popular contemporary postcolonial cinema, through readings of three recent Maghrebi-French films. The research is comprised of the films Days of Glory (2006), Outside the Law (2010) and Free Men (2011), which narrate unfamiliar colonial stories in familiar ways. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in France, and therefore provide a fascinating and complex point of entry into the study of popular postcolonial cinema. By incorporating the popular into the postcolonial, the primary contribution of this t

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16

Wimmer, Leila. "Cross-channel perspectives the French reception of British cinema." Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2009. http://d-nb.info/992795982/04.

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17

Bazgan, Nicoleta. "Irresistibly French: Female Stardom And Frenchness." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1217959177.

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18

Leahy, Sarah. "Simone Signoret and Brigitte Bardot : femininities in 1950s French cinema." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269668.

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19

Evans, G. L. "Cinema and synaesthesia : inter-sensory connections in recent French film." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598872.

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Work by Laura Marks and Vivian Sobchack has triggered a rethinking of the way film evokes sensory experience, and existing models of the spectator have been shattered in favour of a responsive, bodily, film viewer, for whom sensation is overwhelmingly affective. This thesis seeks to balance this work with an appraisal of how relationship between and among senses colour the spectator’s engagement with the narrative dimension of cinema. This exploration is conducted in the light of audio-visual film’s status as the first synaesthetic mass-medium. Consequently, the analysis looks beyond film stud

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20

Noble, Caroline. "Mediterranean Seascapes in Contemporary French Cinema: Between Myth and Reality." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1522075970995536.

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21

Sharpe, Mani. "Gender and space in post-colonial French and Algerian cinema." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2744.

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This thesis explores representations of narrative space and gender in 1960s French and Algerian cinema; an era marked, in both countries, by the spectre of the Algerian War of Independence (1954-1962). Until now, the two forms of cinema which arose out of this war have rarely been analysed in relation to each other. Doing so provides a crucial insight into how the dynamics of decolonization led to analogous patterns of cinematic representation- particularly in relation to patterns of gender and space. This thesis will be split into four chapters. In the first chapter, I provide a general overv

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22

McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.

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23

Higbee, William Edward. "Marginality and ethnicity in French cinema of the 1980s and 1990s." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364416.

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24

Sutherland, Nina Alice. "The representations of the Harkis in French media, literature and cinema." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430575.

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25

Esposito, Maria. "Space, place and the past : the construction of national cinema and identity in the contemporary film de patrimoine in France." Thesis, London Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302441.

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26

Handyside, Fiona Jean. "Femininity, stardom and the everyday : a comparative account of the French female cinema star and the Hollywood female cinema star in French cultural discourses of the 1950s." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1694.

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This thesis explores the links between ideology, stardom, nationality and the everyday. It argues that as France underwent rapid economic expansion and technical modernisation in the 1950s, everyday life was subsequently rendered `unfamiliar' whilst simultaneously retaining its banal quotidian nature or `familiarity' - i.e. it became `uncanny'. It thus became an object of intense critical inquiry and there was also a resulting object-fetishisation within mass culture. The introductory chapter argues that in a climate of urbanisation, a new `leisure' culture and the explosion of the mass media

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27

Okwudire, Towela Sepo Magai. "Le cinema quebecois vu par des spectateurs americains." University of Toledo / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1525386693046116.

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28

Walsh-Harrington, Geraldine. "The function of the incidental song in contemporary French and Belgian cinema." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310725.

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29

Smith, Alison. "The influence of May 1968 on French commercial cinema in the 1970s." Thesis, University of Reading, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357903.

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30

Scott, S. J. N. "Tactile moves : an archaeology of the sense of touch through French cinema." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1409853/.

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My thesis explores the ways cinema engages with the sense of touch. I concentrate on two periods of technological change in French cinema in order to investigate film’s tactile nature from an historical standpoint. The cinematic experience alters with the emergence of new technology both within and outside the moving images. Society’s perception of the senses also modifies with time. I ask how cinema’s relation to touch developed with social changes. My thesis is concerned with grounding touch within film theory and history by engaging with the history and philosophy of the senses. My first ch

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31

Parson, Julie. "The Tradition of Femininity: Rethinking Gender and Sexuality in 1950s French Cinema." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313583878.

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32

Campbell, Kelly Kathleen. "Film, French, and Foie Gras: Examining the French Cultural Exception." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282014046.

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33

Vonderheide, Leah. "Inner Lives: The Moral Cinema of Bresson, Rohmer, and the Dardennes." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5671.

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This dissertation engages French-language films in the 'moraliste' tradition. The French word 'moraliste' has no exact English equivalent. It does not evoke the didactic sense of “moralist;” rather a 'moraliste' is someone who explores the inner workings of the mind, rather than the outer actions of a character. Beginning with the publication of Montaigne’s Essays in 1580, 'moralistes' including Descartes, La Rochefoucauld, Pascal, and La Bruyère created moral literature – literature concerned with personal reflections and the feelings of an individual over the dogma of good society. The emerg

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34

Oscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.

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35

Hastings, Valerie Francoise. "Les formes de l'humain. Volatilite des frontieres dans le Roman Francophone autofictionnel contemporain." Thesis, State University of New York at Buffalo, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3683039.

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<p> Cette étude a commencé par un intérêt et un questionnement portant sur la problématique du silence en tant qu'impossible à dire hégémonique. Le silence étant la conséquence d'un phénomène immotivé il se traduit en une impossibilité de décrire absolue qui peut résulter d'une expérience difficile comme un traumatisme, ou d'une expérience impossible comme celle de l'altérité inconcevable, et qu'on rassemblera sous la dénomination d'indicible. Le pro

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36

Davies, Hayon Kaya. "The embodiment of subjectivity in contemporary Maghrebi and French cinemas." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/the-embodiment-of-subjectivity-in-contemporary-maghrebi-and-french-cinemas(00c37c24-4395-433d-a8de-8d68fd13493d).html.

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This thesis examines a cluster of recent films that feature people of Maghrebi heritage and position corporeality as a site through which subjectivity and self-other relations are constituted and experienced. These films are set in and between the countries of the Maghreb, France and, to a lesser degree, Switzerland, and often adopt a sensual aesthetic that prioritises embodied knowledge, the interrelation of the senses and the material realities of emotional experience. However, despite the importance of the body in these films, no study to date has taken corporeality as its primary point of

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37

Thornton, Katharine. "Cinema lectures : aspects of Vichy ideology and French life under the German occupation as seen in French films, 1942-1987 /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art513.pdf.

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38

Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

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39

Karlsson, Beatrice. "Commodification of Otherness : A qualitative postcolonial analysis of representation in French contemporary cinema." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-339457.

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This thesis investigates how colonial legacies shape representational practices in contemporary French cinema and interrogates how hierarchical differences are produced and challenged in the cinematic media. Combining the fields of postcolonial theory and culture studies enables a theoretical framework that connects contemporary cultural debates about the politics of representation with the legacies of colonial stereotypes and racialized imageries. Through the application of qualitative content analysis and critical discourse analysis the thesis strives to make a theoretical contribution to th

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Karlsson, Beatrice. "Commodification of Otherness : A qualitative postcolonial analysis of representation in contemporary French cinema." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-361753.

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This thesis investigates how colonial legacies shape representational practices in contemporary French cinema and interrogates how hierarchical differences are produced and challenged in the cinematic media. Combining the fields of postcolonial theory and culture studies enables a theoretical framework that connects contemporary cultural debates about the politics of representation with the legacies of colonial stereotypes and racialized imageries. Through the application of qualitative content analysis and critical discourse analysis the thesis strives to make a theoretical contribution to th

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41

McCann, Benjamin Edward. "Set design, spatial configurations and the architectonics of 1930s French poetic realist cinema." Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/c99b13b0-9aca-425b-ba16-4ce97d9c643f.

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The aim of this study is to demonstrate that 1930s French poetic realist cinema is characterised by a highly readable set design. It is a decor imbued with meaning - not a silent shell, standing detached from the action but rather the amplifier of narrative concerns. The thesis develops the claim that the decor is freighted with a powerful dramaturgical and symbolic charge, whereby the figural dimensions of everyday decor fragments anthropomorphise into powerful signifying elements. Stylised studio-bound spatial configurations define the film's visual ambience, enhance its emotional dimensions

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42

Johnston, Cristina. "The use of the spoken word in contemporary French minority cinema, with specific reference to banlieue and gay cinema (1990-2000)." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/2052/.

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This thesis seeks to analyse the ways in which the spoken word is used in two French minority cinemas – cinema de banlieue and gay cinema – between 1990 and 2000, in order to express an engagement with the complex, layered, and fractured identities of France’s citizens in the late twentieth century. This analysis will be conducted through three prisms which correspond to the three central chapters of the thesis: ethnicity, gender, and sexuality. These three areas of analysis were chosen because the particular aspects of individual and collective identity with which they engage embody the three

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43

Meacher, Glenyce Ann. "The representation of the pastoral in rural films in the French cinema 1981-2002." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438754.

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44

Doherty, Annabelle. "Living the Past through French Heritage Film: Historical Thinking and Cinematic Cultural Memory." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15296.

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This thesis examines the French heritage film, a contemporary genre of period drama and historical film in France, which like other nations’ heritage cinema has often been neglected or dismissed by scholars. In comparison to precursor or parallel genres designated as “serious historical film”, such as the “New History film”, the heritage genre is typically regarded as a costume drama of fantasy, “romance and adventure”, presenting “history as spectacle” for audiences’ entertainment and “visual pleasure” in a largely surface reconstitution of history. In terms of cultural memory, French herit

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45

Hertaud-Wright, Marie-Helene. "Masculinity, hybridity and nostalgia in French colonial fiction films of the 1930s." Thesis, Loughborough University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327684.

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46

Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.

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47

Vincendeau, G. "French cinema in the 1930's : Social text and context of a popular entertainment medium." Thesis, University of East Anglia, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.353297.

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48

Harrod, Mary. "Comedy and social change in French cinema 1990-2010 : the rise of the rom-com." Thesis, King's College London (University of London), 2013. https://kclpure.kcl.ac.uk/portal/en/theses/comedy-and-social-change-in-french-cinema-19902010(0c778dc0-a8e4-46f7-81aa-a52e1ccf1aeb).html.

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This thesis focuses on the sudden proliferation of a highly popular genre in French cinema over the past two decades. While genre cinema, French and otherwise, and especially comedy have historically been under-examined in France, this study contributes to a gradual shift towards the application of more traditionally Anglophone cultural and gender studies approaches to the analysis of French cinema. It also looks at the question of generic evolution and the relationship between domestic practice and Hollywood paradigms, including the way in which the national cinema is being reconceptualised i

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49

Powell, M. L. "Mothering in the third person : the absent mother of French and English cinema, 1959-1979." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10047013/.

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This thesis explores the tensions between the cultural construction of motherhood as a discourse and the complex subjectivities of individuals who mother, through analysing representations of mothers in French and English cinema. It begins with a theoretical background on discourses of motherhood in European thought. Drawing together feminist writing on motherhood with Lee Edelman’s theory of the Child, I argue that overzealous imaginations of the Child as the ideal cultural subject are used as grounds to legitimise the erasure of mothers as individual subjects. From here, I examine the extent

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Cousins, Jennie. "Unstitching the 1950s film costumes : hidden designers, hidden meanings." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/42353.

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This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinolin

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