Divergences : La genèse de la scission cinématographique entre la France et les Etats-Unis
In this study we explore the multiple divergences between American and French cinema in the light of a historical lens. Focusing primarily between the inception of cinema during the 1890s through the 1920s, our analysis includes the following films: Un chien andalou, La glace à trois faces, Sunrise, The Gold Rush, Coquette, and Fièvre. This thesis seeks to demonstrate that these two national cinemas evolved distinctly during the early history of the medium itself. Herein we concentrate on three separate divergences that manifest at different points in history. First, we examine film historically in the United States and France in order to reveal how the two cinemas industrialized differently as well as how the filmic medium was perceived by the public. Next, we propose that some of the most emblematic films from the 1920s reveal the existence of two separate cinematic canons; the most salient feature analyzed here concerns the implementation, or rejection, of traditional narrative technique. Lastly, we discuss a thematic divergence regarding the manipulation of gender roles between the two cinemas during the 1920s with the objective to emphasize the progressive aspects of gender in one cinema and the conservative view of gender in the other. In conclusion, we affirm that the divergences discussed resulted in the creation of two national cinemas that remain perceptible even presently. This Honor’s Project has been written entirely in French.
Franklin and Marshall College Archives, Undergraduate Honors Thesis 2016
- F&M Theses Collection