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La réception du cinéma allemand par la presse cinématographique française entre 1921 et 1933

Abstract : Just after the first World War, French critics commented German film like an industrial or propaganda product. It was until the end of 1921, that Louis Delluc showed a first German movie in France. After some nationalists reactions, critics built around stereotypes an romantic vision of German films. These romantics visions maded by Madame de Staël in the beginning of 19 century. For French critics, the german production worlwide success proved the suporiority of European culture to the “ young “ american civilization. With The Nibelungen or Faust, these features represented German identity. But these film beyond nationalist space to acceded universal signification. Germans productions became the archetype of European Culture in the middle of the 1920s. In the beginning of the 1930s, talkies transformed French-German relations. There were a lot of collaboration on both side of the Rhine: of course, in Babelsberg studios – the most important in European space – and Parisians studios too. For example, Georg Wilhelm Pabst realized three differents versions of Die Dreigroschenoper : the first in german language, a second in french and the third in english. Pabst worked with differents actors and differents technincian. French and German works together – in some case English – to build European cinema without losing national identity. Until January 1933, the French German cultural transfers were multiple. However, the German Emigration didn't find acceptance in the Parisan studios.
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Submitted on : Thursday, February 21, 2013 - 2:22:18 PM
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Marc Lavastrou. La réception du cinéma allemand par la presse cinématographique française entre 1921 et 1933. Linguistique. Université Toulouse le Mirail - Toulouse II, 2012. Français. ⟨NNT : 2012TOU20136⟩. ⟨tel-00793003⟩

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