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Montage et idéologie dans le cinéma américain contemporain

Abstract : In this study of the relationship between the editing and the ideology in the contemporary American cinema, (years 1990 - middle of the years 2000) the objective is to develop the bonds between these two entities and to study the mechanisms which govern them.
The American cinema, understood like a living organism, knew a great change in the years 1990, thanks to new technologies. Almost everything becoming achievable, the editing in the American cinema develops into, even more than before, as a form which allows the story to evolve and the meaning to come out.
The ideology, conceived as a system of representation of ideas, a total scheme of interpretation of the world, is understood as an fundamental principle inherent with the American cinema, almost as well as the editing.
This study is interested in the various interactions between the filmic elements set to work from a subjacent and implicit ideological "parti-pris" in the diégèse, while trying to analyze a filmic construction in which the ideological implications are not announced preliminary.
The study of the editing is completed by the analysis of the multiple figures surrounding it: the framework, the special effects, the film music, space and time and by the impact of this editing on the spectators.
Finally, this study will consider the phenomenon generated in 2004 by The Passion of the Christ and other films, allowing the return, in the American cinema, to a more engaged speech in which the ideology becomes more explicit, without calling into question the assets of the previous decade.
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Contributor : Elie Yazbek <>
Submitted on : Wednesday, April 29, 2009 - 2:35:55 PM
Last modification on : Thursday, October 29, 2020 - 3:01:35 PM
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  • HAL Id : tel-00379847, version 1



Elie Yazbek. Montage et idéologie dans le cinéma américain contemporain. Sciences de l'Homme et Société. Université de la Sorbonne nouvelle - Paris III, 2008. Français. ⟨tel-00379847⟩



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