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Histoire(s) et historiographie du cinema en France : 1896-1953.

机译：法国电影史和史学：1896-1953年。

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摘要

This thesis is one of several recent works to re-evaluate the history of film studies. Its goal is to revise the present-day conception of film historiography in France from 1896 to the early 1950s by calling into question the view of traditional film history as homogeneous portrayed by the new film historians.;This thesis is divided into three sections. In the first, I describe my tools and analytical framework. I discuss the historiographical operation as it defined by Michel de Certeau, as the three-way encounter of a social space marked by dominant intellectual frameworks, a range of procedures used by historians to select their sources and construct events, and, finally, the writing of history, which involves creating a system of relations between the various events so constructed. I then describe historical currents in France from the 1870s to the early 1950s. This survey enables me to better identify the exchanges, borrowings and enrichments that occurred during this period between history and film history.;In the second part, I "construct" from within a vast range of discourses---those of film historians, cultural historians and film theorists---the dominant conception of film historiography. I show that it is created by product of those who are known by many commentators as the new film historians and that it is reduced as the succession of two great historical currents: traditional film history and new film history. I then discuss how this periodisation has been instrumentalised by those who created it. The goal of the new historians is not to bring to light the plurality of writings on film history, but rather to show the break that they have brought about in film historiography. Finally, a discussion of the role accorded to the mode of film exhibition known as Hale's Tours in general film histories published before and after the Brighton Congress enables me to soften the break between these two historical currents.;In the third part, I examine several ways of approaching film history. I identify various breaks in film historiography in France with respect to the historical topic historians adopt, the conceptual tools they call upon and the relations between these historians and the sources they employ. These case studies, finally, enable me to document the wealth of film historiography in France before the early 1950s.
机译：本论文是重新评估电影研究历史的几本近期著作之一。其目的是通过质疑新的电影史学家对传统电影历史的统一看法，来对1896年至1950年代初期法国电影史学的概念进行修改。本文分为三个部分。首先，我描述了我的工具和分析框架。我将讨论由Michel de Certeau定义的史学操作，即以占主导地位的知识框架为标志的社会空间的三路相遇，历史学家用来选择其来源和构造事件的一系列程序，以及最后的写作。历史，涉及建立如此构造的各种事件之间的关系系统。然后，我将描述1870年代至1950年代初期法国的历史潮流。这项调查使我能够更好地确定这段历史与电影史之间发生的交流，借用和充实。在第二部分中，我从大量的论述中“建构”-电影史学家，文化学家电影史学家和电影理论家-电影史学的主要概念。我证明它是由许多评论家称为新电影历史学家的人们所创造的，并且由于两种伟大的历史潮流：传统电影史和新电影史的继承而被简化。然后，我讨论创建该过程的人如何使用该过程。新历史学家的目的不是要揭示电影历史上的众多著作，而是要展示他们在电影史学中所带来的突破。最后，在布莱顿会议前后出版的一般电影史中，关于被称为黑尔之旅的电影展览模式的作用的讨论使我能够缓和这两种历史潮流之间的分歧。在第三部分中，我考察了几个处理电影历史的方式。我发现法国电影史学在历史学家所采用的历史主题，他们要求的概念工具以及这些历史学家与他们所采用的资料来源之间的关系方面有各种突破。最后，这些案例研究使我能够记录下1950年代初期法国电影史学的丰富情况。

著录项

  • 作者

    Gauthier, Philippe.;

  • 作者单位

    Universite de Montreal (Canada).;

  • 授予单位 Universite de Montreal (Canada).;
  • 学科 Cinema.
  • 学位 Ph.D.
  • 年度 2014
  • 页码 388 p.
  • 总页数 388
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 肿瘤学;
  • 关键词

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